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THINGS  THE  SMALL  HOUSE  STANDS  FOR 


We  dream  of  a castle  in  Spain,  hut  we  build  a cottage  in  the  country.  And  therein  lie  the  interest  and  the  pic- 
turesqueness and  the  abiding  charm  of  a small  house.  It  is  a realization  in  parvo  of  big  things.  It  is  an  adequate 
satisfying  of  our  desires  for  a home  in  which  to  express  personality  and  develop  a life  and  shelter  the  next  genera- 
tion. Most  of  /imerican  life  centers  about  and  is  concerned  "with  the  small  house,  with  the  men  and  women  who  have 
realized  in  the  actuality  of  brick  and  mortar  and  shingle,  in  the  reality  of  shadowed  lawns  and  quiet  garden  paths,  the 
big  dreams  for  which  America  stands.  Patterson  & Dula,  Architects 


i 


I 

I 

1 


HOUSE  & GARDEN’S 
BOOK  of  houses 

Containing  Over  Three  Hundred  Illustrations  of 
Large  and  Small  Houses  and  Plans,  Service  Quarters 
and  Garages,  and  Such  Necessary  Architectural 
Detail  as  Doorways,  Fireplaces,  tFindows,  Floors, 

Walls,  Ceilings,  Closets,  Stairs,  Chimneys,  etc. 


Edited  by 

RICHARDSON  WRIGHT 

Editor  of  House  & Garden 


I 


I 

I 


1920 

NEW  YORK 

CONDE  NAST  & COMPANY 


The  House  & Garden  Books 

House  6?  Garden’s 
Book  of  Houses 

House  Garden’s  House  Garden’s 

Book  of  Interiors  Book  of  Gardens 


Copy r i fill  t September  1919  by 
(^>nde  Nast  & Co. 


Second  Print ing  Janunry  1920 
Third  Printing  July  1920 


CONTENTS 


Things  the  Small  House  Stands  For 2 

Patterson  & Dula,  Architects 

A House  by  the  Side  of  the  Street 6 

Dwight  J.  Baum,  Architect 

Foreword  7 

"PoejM  for  the  Dedication  of  a Home” 8 

Don  Marquis 

Inviting  Entrances  to  the  House  , o 

Old  and  New  Doors 10 

Windows  That  Give  Character  to  a Faqaie 11 

A \’ariety  of  Chimneys 12 

Exterior  Lattice  That  Enlivens  Walls.  13 

The  Touch  of  Wrought  Iron 14 

Closets  for  Every  Room IS 

Fireplaces  and  Their  Decoration 16 

Types  of  St.airs 18 

Doors  Inside  the  House IQ 

The  Molded  Plaster  Ceiling 20 

Open  Beams  on  Walls  .and  Ceilings 21 

The  Delicacy  of  a Free  Standing  Stairs 22 

John  Russell  Pope,  Architect 

Six  Types  of  Wall  Finish 23 

Tile,  Brick,  Wood  and  Cement  Floors 24 

Windows  from  the  Inside 26 

White  as  a Color  for  Houses 28 

Aymar  Embury  II,  Architect 

Visualizing  the  New  House 29 

The  Residence  of  C.  C.  Mullaly,  Philipse  Manor,  N.  Y 30 

Dwight  J.  Baum,  Architect 

The  Residence  of  Mrs.  A.  W.  Sage,  Middleburg,  Va 31 

The  Residence  of  J.  M.  Townsend,  Mill  Neck,  L,  1 32 

IT.  Lawrence  Bottomley,  Architect 

\ House  for  Tw'o  in  the  Southern  Style 33 

Julius  Gregory,  Architect 

.An  Italian  House  for  the  Country’ 34 

Randolph  H.  Almiroty,  Architect 

The  Things  That  Goldsmith  Forgot 36 

John  Russell  Pope,  Architect 

.An  Italian  Country  House 37 

Richard  Henry  Dana,  Jr.,  Architect 

The  Residence  of  M.  S.  Mannes,  New  Rochelle,  N.  Y 38 

Albro  & Lindeberg,  Architects 

■A  Small  House  for  Three 39 

Harry  IF.  Knowlton,  Architect 

The  Residence  of  Frank  D.  Potter,  Rye,  N.  Y 40 

Lewis  Colt  Albro,  Architect 

The  Residence  of  F.  A.  Nelson,  Architect,  Montclair,  N.  J 41 

The  Residence  of  Robert  L.  Wood,  Chestnut  Hill,  Pa 42 

John  L.  Graham,  Jr.,  Architect 

California  Bungalows 44 

Two  Livable  Sm.all  Houses 46 

The  Residence  of  J.  McWilliaais,  Jr.,  Pas.adena,  Cal.. 47 

Reginald  D.  Johnson,  Architect 

Small  Country  Houses 48 

Kenneth  IF.  Dalzell,  Architect 

.A  Commodious  Dutch  Colonial  Home 49 

Dwight  J.  Baum,  .Architect  * 

Two  Small  Houses  East  and  West SO 

.A  Cottage  and  a Lesser  Country  House SI 

•A  Cottage  at  Rye,  N.  Y S2 

Lewis  Colt  .Albro,  Architect 

The  Home  of  F.  O.  Zenke,  Fieldston,  N.  Y S3 

Dwight  J.  Baum,  Architect 

.A  Bow  Dutch  Country  House S4 

.Aymar  Embury  II,  Architect 

The  Residence  of  H.  Norton,  Oyster  Bay,  L.  I S5 

Peabody,  Wilson  & Brown,  .Architects 

.An  .Architectural  Epigraai S6 

Bloodgood  Tuttle,  Architect 

.A  Small  Clapboard  Suburban  House S7 

William  T.  Marchant,  Architect 

.A  Dutch  Colonial  House  for  a Small  Family S9 

Frank  J.  Forster,  Architect 

The  Residence  of  Howard  Chapman,  .Architect,  Stamford,  Ct 60 


.A  French  Chateau  for  an  American  Suburb 61 

Eugene  J.  Lang,  Architect 

Mr.  George  Rule’s  Home  at  Great  Neck,  L,  1 62 

.Aymar  Embury  II,  Architect 

The  Half-Ti.mbered  House  in  the  Suburbs • 63 

IF.  Stanwood  Phillips,  Architect 

The  Gajibrel-Roofed  House 64 

Aymar  Embury  II,  Architect 

.A  Suburban  Home  in  the  Italian  Manner 63 

IF.  R.  Bajari,  Architect 

.A  Standard  for  Architectural  Detail 66 

Lewis  Colt  Albro,  Architect 

.A  Livable  Suburban  Home 67 

Looker  & Marsh,  Architects 

The  Residence  of  Robert  Haskins,  Richmond,  Va 68 

IF.  Duncan  Lee,  Architect 

The  Residence  of  F.  I.  Kent,  Scarsdale,  N.  Y 69 

Patterson  & Dula,  Architects 

The  Sunlight  Makes  It  So 70 

Charles  I.  Berg,  Architect 

.An  English  Cottage  in  Kentucky 71 

IF.  E.  Gore,  Architect 

The  Residence  of  Henry  R.  Swartley,  Jr.,  Esq.,  Great  Neck,  L.  1 72 

Bates  & Howe,  Architects 

The  Hoaie  of  Frank  M.  Simpson,  Little  Falls,  N.  Y 73 

Dwight  J.  Baum,  Architect 

The  .Approach  to  the  House 74 

Goodwin,  Bullard  & Woolsey,  Architects 

Stucco  and  Weather'ed  Oak 73 

.4.  J.  Bodker,  Architect 

Half  Timber  and  Stucco 76 

E.  J . Kahn,  Architect 

.A  Gambrel  Roof  Type 77 

.Adden  & Parker,  Architects 

.A  Norman-English  Farmholtse 78 

Julius  Gregory,  Architect 

.A  New  England  Design  in  Brick 80 

C.  F.  Townsend,  Architect 

.A  Livable  House  in  Rochester,  N.  Y 82 

C.  R.  Newkirk,  Architect 

The  Home  of  Louis  J.  Sny'der.  Rye,  N.  Y 83 

.Aymar  Embury  II,  Architect 

.A  Colonial  Plan  in  White  Shingles 84 

Charles  C.  May,  Architect 

The  Home  of  E.  C.  Thiers,  Pasadena,  Cal 86 

Reginald  D.  Johnson,  Architect 

.A  Small  Colonial  Country  House 88 

Morris  & Erskine,  Architects 

.A  Simple  Design  in  Stucco 89 

IF.  Lawrence  Bottomley,  Architect 

.A  Rest  House  of  Mrs.  Payne  Whitney’,  Manhasset,  L.  1 90 

J.  H.  PhilLps,  Architect 

The  Joseph  E.  Brush  House,  Fieldston,  N.  Y. 92 

Dwight  J.  Baum,  .Architect 

The  Residence  of  .Allan  Lehman,  Tarrytown,  N.  A' 94 

John  Russell  Pope,  Architect 

The  Residence  of  D.  Barnes,  Manhasset,  L.  1 96 

Peabody,  Wilson  & Brown,  Architects 

.A  Seashore  Holtse  at  South  Dartmouth,  Mass Qg 

Harry  B.  Russell,  Architect 

.A  Remodeled  Pennsylvania  Farmhouse,.- 100 

Duhring,  Okie  & Ziegler,  .Architects 

Four  Country  Houses 102 

//.  T.  Lindeberg,  Architect 

.A  Touch  of  Italy  in  New  A^ork 104 

Benjamin  W'istar  Morris,  .Architect 

Two  Small  Garages 103 

Frank  J.  Forster,  Architect 

Garages  Outside  and  In  the  House 106 

.A  Servants'  Blhlding  and  Garage 108 

Dwight  J.  Baum,  Architect 

The  Garage  in  Relation  to  the  House lOQ 

.Addresses  of  .Architects  and  Decorators iio 


6 


House  & Garden’s 


A HOUSE  BY  the  SIDE  »/  the  STREET 


Next  to  a house  by  the  side  of  the  road  comes  a house  by  the  side 
of  the  street — a house  set  close  to  where  men  pass  and  repass  on 
their  various  occasions.  Here  is  one — the  residence  of  Arthur  F. 
Elliot,  Esq.,  at  Fieldston,  New  York  City — which  stands  close  to 
the  lot  line,  with  only  a narrow  grass  strip  and  a privet  hedge 
separating  it.  Walls  are  of  cream  stucco,  trim  of  chestnut  stained 


brown  and  the  window  frames  and  sash  are  painted  different 
shades  of  brown  to  give  color  variation.  Three  shades  of  brown 
shingles  comprise  the  roof.  Blinds  are  pale  bluish  green  with  black 
strap  hinges.  The  brick  corbelling  around  the  windows  is  of 
different  shades  of  red,  the  joints  matching  the  stucco  in  color. 

Dwight  James  Baum  was  the  architect  of  the  house 


Book  of  Houses 


7 


FOREWORD 


The  pages  of  this  book  fall  into  three 
groups:  the  architectural  details  that  are 
used  inside  and  out  the  house;  the  houses  them- 
selves with  their  plans,  and  some  with  interior 
views;  and  finally  the  service  quarters  and 
garages,  etc.,  with  their  respective  plans. 

This  grouping  is  logical.  The  architectural 
beauty  of  a house  is  the  sum  total  of  its  details 
— the  sum  total  of  its  windows  and  doors  and 
roofs  and  chimneys  and  ceilings  and  stairs  and 
floors.  To  use  these  successfully  one  must 
study  them  in  relation  to  their  surroundings, 
and  in  these  pages  the  surroundings  are  shown. 

The  complete  houses  are  chosen  for  their 
livable  qualities,  their  adaptability  to  the 
different  parts  of  the  country,  and  for  the 
variety  of  their  architectural  treatments, 
sizes  and  costs.  Garage  and  service  quar- 
ters, which  are  essential  adjuncts  to  the 
modem  house,  complete  the  volume’s  illus- 
trations. On  the  last  page  the  names  and 
addresses  of  the  architects  who  have  con- 
tributed to  this  book  are  given,  to  facili- 
tate direct  communication. 

These  illustrations  represent  the  work 
of  over  eighty  architects  in  all  parts  of 
the  United  States.  They  are  men  who 
have  striven  to  stimulate  the  movement  in 
which  all  forward-looking  Americans  must 
Ije  interested — better  homes. 

IX  the  acquiring  of  a house  there  are 
three  steps.  First  you  must  decide 
whether  you  want  to  live  in  your  own  or 
some  other  person’s  house,  whether  you 
want  to  be  a tenant  or  an  owner.  Second, 
if  you  decide  to  build,  you  must  have  a 
fairly  definite  idea  of  the  sort  of  house 
you  want.  Thirdly,  you  must  build  it  on 
honest  lines  that  conform  to  the  principles 
of  good  architecture  as  the  age  and  com- 
munity demand. 

Each  of  these  steps  plays  a very  vital 
part  in  that  rather  hazy  ideal  which  we 
are  pleased  to  call  .America.  tenant 
nation  is  a discontented  nation.  Russia 
was  an  empire  of  tenants,  and  when  the 
iron  band  of  Tsardom  was  broken,  the 
country  dissolved  into  chaos.  France  stood 
firm  during  the  war  because  her  people 
own  their  own  land  and  houses.  England 
must  go  through  the  toils  of  readjustment 
because  her  tenantr}*  is  largely  out  of  pro- 
portion to  her  body  of  home  owners.  The 
solidarity  of  .American  ideals  depends  ver\- 
much  upon  the  increase  in  the  number  of 
people  owning  their  ovn  homes. 

There  is  a movement  on  foot  to  induce 


Americans  to  accomplish  this  and  it  is  thriving 
because  more  and  more  people  see  that  owning 
one’s  own  home  is  the  basis  of  good  citizen- 
ship. Our  malcontents  merely  rent  flats.  The 
backbone  of  a nation  is  its  everyday  people 
who  own  their  everyday  homes  and  live  their 
everyday  lives  and  do  their  everyday  work. 
Owning  a home  is  the  beginning  of  being  re- 
spectable. It  starts,  or  should  start,  a perma- 
nent foundation  for  the  family. 

Reams  have  been  written  on  the  decay  of 
home  life  in  America.  In  turn,  the  bicycle,  the 
narrow  skirt,  the  motor,  the  movies  and 
Georgette  crepe  waists  have  borne  the  brunt 


A FEW  DON’TS 

for 

HOME  BUILDERS 


Don’t  deceive  your  architect  as  to  what  you  can 
really  afford  to  spend. 

Don’t  be  afraid  to  spend  a few  dollars  for  pre- 
liminary information.  It  is  usually  money  well  spent. 

Don’t  think  you  can  build  for  what  your  friends 
did  five  years  ago.  Both  labor  and  materials  have 
gone  up  since  then. 

Don’t  expect  solid  gold  door-knobs  when  the  al- 
lowance for  all  the  hardware  is  only  fifty  dollars. 

Don’t  try  to  make  your  upstairs  twice  as  big  as 
your  downstairs. 

Don’t  change  your  mind  as  to  what  you  want  after 
it  is  half  built. 

Don’t  give  the  builder  his  final  payment  until  the 
job  is  completely  finished. 

Don’t  assume  that  the  lowest  bidder  will  always 
be  the  most  satisfactory. 

Don’t  expect  the  architect  to  do  his  work  for 
nothing.  Even  architects  are  subject  to  temptation. 

Don’t  think,  either,  that  he  knows  nothing  about 
building  houses.  He  has  probably  built  more  of  them 
than  you  have. 

And  above  all,  don’t  expect  to  get  something  for 
nothing.  It  can’t  be  done,  especially  when  the  other 
man  knows  the  game  better  than  you  do. 


of  the  blame.  In  each  successive  generation 
the  real  issue  is  dodged.  Home  life  decays 
when  houses  decay. 

Home  life  is  just  as  permanent  as  the  house 
that  it  graces.  In  the  age  when  men  built 
homes  that  would  last,  they  cultivated  a home 
life  that  would  last  as  long  and  longer.  Houses 
built  of  shoddy  materials,  thrown  together  for 
a short  ten  years’  existence — these  are  the 
marks  of  decay.  The  builder  is  not  entirely 
to  blame,  nor  is  the  architect  nor  the  state  of 
the  market.  Lasting  materials  aplenty  are 
available,  good  architects  are  readily  found, 
nor  is  the  honest  builder  a rara  avis.  The  fault 
lies  with  the  man  who  first  dreams  of  the 
house.  The  fault  lies  with  his  plans  for 
living;  whether  the  house  is  to  last  or  not. 

There  is  still  another  angle  to  the  prob- 
lem. A house  may  be  honestly  built,  it 
may  be  a home  of  noble  ideals,  and  yet 
fail  in  an  important  part  of  its  mission. 
For  every  house  is  a part  of  the  com- 
munity, and  the  mission  of  every  house  is 
to  enhance,  by  its  contribution,  the  fin? 
appearance  of  that  community.  Bad 
architecture,  eccentric  architecture,  play 
the  same  havoc  in  a town  that  the  bad 
repute  or  objectionable  eccentricity  of  one 
person  will  play  in  a family  circle. 

Houses  are  like  people.  Each  has 
definite  expressions  of  character,  or,  as 
Ruskin  put  it,  “All  good  architecture  is 
the  expression  of  life  and  character.” 
Houses  as  well  as  people  should  confonn 
to  what  their  environment  and  age  con- 
sider to  be  good  taste.  An  Arizona  ranch 
house,  suitalfle  in  design  to  the  Arizona 
environment,  would  be  an  esthetic  and 
architectural  crime  on  Commonwealth 
-Avenue,  Boston,  and  the  Colonial  fami- 
house,  harmonious  with  a Philadelphia 
suburb,  would  be  an  eyesore  on  the  limit- 
less plains  of  North  Dakota. 

That  is  where  the  architect  enters  upon 
his  work. 

''~r^HE  value  of  employing  an  architect 
X is  not  generally  understood.  People 
somehow  think  that  an  architect  is  an  un- 
necessary middleman  between  themselves 
and  the  building  of  their  homes,  an  expense 
that  can  readily  be  eliminated  from  the 
budget.  No  mistake  is  more  lamentable. 
Pleasing,  livable  houses  may,  conceivably, 
be  built  without  the  services  of  an  architect, 
but  they  succeed  more  by  chance  than  by 
good  management.  There  is  scarcely  a sub- 
urb in  America  todav  but  blushes  for  its 


8 


House  & Garden’s 


monstrosities  directly  traceable  to  well-inten- 
tioned folk  who  thought  they  could  get  along 
without  an  architect.  Employing  an  architect 
should  be  the  first  step  toward  building  a house. 

The  layman  may  dream  his  house — usually 
a hazy  sort  of  dream  about  something  cute  in 
the  Dutch  Colonial  line,  but  the  architect  defi- 
nitely dreams  its  execution.  The  layman  may 
know  what  kind  of  house  he  wants,  but  the 
architect  tells  him  how  to  build  it. 

Some  day  an  architect  will  write  his  con- 
fessions. Then  the  lay  mind  will  be  able  to 
grasp  what  manner  of  man  it  is  who  can  find 
a point  in  space  and  say  with  certainty  that 
yonder,  where  only  birds  circle  and  dip,  shall 
men  walk;  who  can  dissolve  a chaotic  pile  of 
stone  and  brick  and  cement  and  shingle  into 
a habitation;  who  can  reduce  visions  to  paper 
and  from  that  paper  build  a house.  The  archi- 
tect is  the  lone  son  of  the  arts  whose  feet  are 
fimily  rooted  on  earth.  With  the 
nonchalance  of  an  acrobat  he  jug- 
gles in  one  hand  such  mundane  mat- 
ters as  stress  and  strain  and  water- 
proofing and  grillage,  while  with  the 
other  he  cry'stallizes  dreams  into  sky- 
lines. Were  it  not  for  these  seem- 
ing contradictions,  the  architect  could 
readily  be  understood. 

The  architect  must  be  a practical 
man.  He  must  be  a good  house- 
keeper, something  of  a lawyer  and 
engineer,  he  must  know  real  estate 
values  and  insurance  in  addition  to 
being  a good  business  man.  He  must 
understand  the  fundamentals  of  sani- 
tation for  his  professional  qualifica- 
tions, as  well  as  being  a fair  plumb- 
er, steam-fitter  and  electrician,  a 
good  painter,  an  excellent  carpenter 
and  a mason,  and  know  something 
about  plastering,  marble  and  tile  set- 
ting, and  should  work  fourteen  hours 
a day.  That  means  a liberal  educa- 
tion, obtained  at  an  early  age  if  a man 
expects  to  live  long  enough  to  prac- 
tice it  in  time  to  make  a living.  On 
the  whole,  his  remuneration  is  not 
high  compared  with  the  number  of 
unproductive  years  spent  in  acquiring  this 
theoretical  and  practical  knowledge. 

Another  stumbling  block  in  the  way  of 
. building  is  the  matter  of  costs. 

A great  many  f>eople  still  nurse  the  fond 
dream  that  a good  ten-room  house  with  all 
modern  improvements,  built  of  lasting  mate- 
rials and  designed  with  individuality,  can  be 
run  up  for  a mere  .'p5,000.  Plenty  of  us  still 
think  of  building  in  terms  of  Centennial  Year 
prices.  We  are  aj)t  to  forget  that  prices  have 
soared — but  that  wages  have  soared  also. 

If  a man  has  a definite  figure  beyond  which 
he  dare  not  pass,  then  he  must  accept  what  he 
can  get  for  that  sum.  Put  if  his  purse  allows 
liim  even  the  slightest  margin,  he  should  insist 
on  getting  the  most  modern  improvements  and 
the  best  work.  In  either  case  his  architect  will 
save  him  the  waste  and  expense  that  ]>o(jr  buy- 
ing and  bad  workmanship  incur.  .Many  good 
~*eople,  to  ref)eat,  can't  understand  this  until 
(he  roof  begins  to  leak,  or  the  floors  to  sag,  or 
the  jjlaster  crack,  or  the  paint  peel  off,  or  tlie 
heater  fail  to  heat — then  they  begin  to  realize 
that  what  they  thought  a saving  was,  in  reality, 
a dead  loss. 

It  is  wiser  to  go  in  debt  for  a well-built 
house  than  to  jday  safe  on  a flimsy,  jerry-built 
structure  that  won’t  last  ten  years. 

Consider  a home  a permanent  investment 
capable  of  paying  interest  all  the  days  of  your 


life.  If  you  can’t  build  a home  on  that  basis, 
then  something  is  the  matter  with  your  earning 
capacity. 

IN  addition  to  the  leakage  caused  by  bad 
designing  and  bad  materials  there  is  the 
waste  of  space  in  the  average  small  American 
house.  If  yoii  figure  that  a house  is  an  in- 
vestment of  capital,  doesn’t  it  seem  unwise  to 
have  that  investment  working  only  part  of  the 
time?  Did  it  ever  occur  to  you  that,  in  the 
small  house  at  least,  there  are  some  rooms 
which  could  be  eliminated  ? 

There  is  no  place  in  the  modern  home  for 
rooms  that  are  not  used,  just  as  there  is  no 
place  in  the  modern  room  for  furniture  which 
does  not  serve  to  increase  the  comfort  and  con- 
venience of  the  bod}"  or  quicken  the  pulse  at 
the  sight  of  good  line  and  color.  The  modern 
house  should  be  100  per  cent  complete,  ful- 


filling and  sufficient.  No  room  should  exist 
that  does  not  play  a definite  role  in  the  daily 
life  of  the  household.  When  it  ceases  to  serve 
that  end,  it  should  be  made  over  for  some 
other  purpose. 

We  have  already  eliminated  the  parlor  of 
our  parents’  days — the  parlor  that  was  opened 
onl}’  for  funerals  and  weddings  and  when  the 
minister  came  to  call — and  have  created  in  its 
stead  tlie  living  room,  a 24-hour  a day  con- 
tribution to  the  home  life. 

In  many  households  the  dining  room  could 
be  eliminated.  The  dining  room  works  about 
two  hours  a day — the  rest  of  the  time  it  is 
occupying  s]iace  that  might  Ije  used  for  other 
purposes.  Unless  one  has  a large  family  whicli 
requires  a separate  room  for  eating,  or  one  can 
afford  a large  house  with  its  attendant  ritual 
of  formal  meals,  then  the  dining  room  should 
be  eliminated.  Instead  of  a separate  dining 
room,  make  the  living  room  larger  and  eat  in 
one  corner  of  it. 

The  same  rule  aj)plies  to  the  uj)stairs  of  a 
house.  Once  on  a day  peo])le  were  wedded 
to  the  idea  of  a large  liedroom.  'I'oday  the 
movement  for  sleeping  out  of  doors  is  on  the 
increase.  Consequently  the  bedroom  per  se 
need  not  be  large,  the  sjnice  that  it  used  to 
occupy  can  be  given  over  to  a dressing  room  or 
boudoir  or  a more  comfortable  bath  or  more 
closets.  'I'liese  commonsense  re<iuirements  de- 
serve the  forethought  of  pros])ective  builders. 


This  effort  to  simplify  home  life  has  been 
quickened  by  the  scarcity  of  servants,  and 
the  invention  of  labor-saving  equipment  which 
eliminates  the  servant  entirely  or  cuts  down 
the  number  of  them  employed.  Before  build- 
ing a house  a man  should  study  these  equip- 
ments closely.  Run  down  the  gamut  of  elec- 
trical refinements  that  save  time  and  labor. 
Look  into  the  matter  of  laundry  chutes  and 
collapsible  ironing  boards  and  vacuum  clean- 
ers. Each  of  these  should  be  provided  for 
before  the  house  is  built.  The  money  wasted 
on  poor  building  or  rooms  not  used  will  more 
than  repay  the  expense  of  installation  and 
maintenance.  Here  again  the  architect’s 
knowledge  of  current  supplies  and  new  in- 
ventions will  be  an  invaluable  aid  to  the 
builder. 

Eirst  and  last,  a house  is  built  to  live  in — 
not  a part  of  the  house  but  the  whole  house. 

The  man  and  woman  who  live  in  it 
should  be- its  masters,  not  its  slaves. 
Modem  equipment  well  installed  and 
good  building  materials  well  used 
are  the  ultimate  judges  of  which  you 
will  be  after  the  house  is  built. 

In  addition  to  employing  an  ar- 
chitect the  man  who  builds  should 
acquaint  himself  mth  the  materials 
that  go  into  his  house.  He  should 
understand  the  kinds  of  brick  or 
stucco  or  lathing  used  for  his  walls. 
He  should  know  why  walls  need  an 
air  space.  The  woodwork  in  his 
house  should  be  selected  only  after 
he  has  acquainted  himself  with  the 
kinds  of  woods  and  their  decorative 
values.  He  should  become  ac- 
quainted with  the  various  heating 
systems  and  help  select  the  one  best 
suited  for  his  t>"pe  of  house  and 
location. 

The  good  architect  welcomes  the 
intelligent  cooperation  of  his  client. 
If  more  architects  had  it,  their  work 
would  be  far  simpler.  As  matters 
stand  to-day,  the  women  of  Ameri- 
ca direct  the  spending — even  in 
building — and  the  men  foot  the 
bills.  The  architect  has  to  deal  with  the 
women  folk  and  the  women,  in  the  majority 
of  cases,  cannot  be  e.xpected  to  have  the  same 
sort  of  technical  interest  in  building  mate- 
rials that  they  exercise  in  the  choice  of  their 
gowns  or  the  purchase  of  their  foodstuffs.  In 
short,  the  men  have  been  putting  the  respon- 
sibility up  to  their  wives,  and  the  wives  have 
been  pestering  the  architects,  in  turn,  with  all 
manner  of  well-intentioned  but  devastating 
whims.  If  you  doubt  this,  ask  any  architect. 

IT  is  only  fair  that  the  average  American 
should  know  more  about  architecture  and 
building — fair  to  the  architects,  fair  to  the 
builders  and  fair  to  himself.  He  will  get  bet- 
ter values  and  more  genuine  satisfaction.  His 
interest  will  be  sincere  and  fruitful.  He  will 
find  that  his  interest — in  the  subtle  fashion 
that  SLicli  interest  has — can  change  a liouse  to 
a liome  whilst  it  is  ljuilding.  And  of  the  vari- 
ous kinds  of  satisfaction  in  this  old  world 
none  is  greater  or  more  lasting. 

d'he  adventure  of  making  a home  is  a real 
adventure.  It  has  a glamor  and  an  e.xcitement 
and  an  ecstasy  of  its  own ; and  it  brings  its  own 
rare  measure  of  contentment  and  pride  and 
satisfaction.  It  is  an  adventure  open  to  all. 

To  the  quickening  of  that  romance  and  to 
the  consummation  of  that  satisfaction  the 
]>ages  of  this  book  are  dedicated — to  the  ap- 
preciation and  attainment  of  better  homes. 


Poem  for  the  Dedication  of  a Home 

These  stones  are  not  a hearth  until  they  know 
The  red  and  kindly  miracle  of  flame. 

Nor  this  house  Home  until  love  makes  it  so. 

Houses,  for  good  report.,  or  didnous  fame. 

Take  on  the  aspect  of  their  tenants’  minds; 

The  thoughts  that  seemed  deep  hidden  in  the  brain 
Shall  shine  forth  from  the  very  eaves  and  blinds: 

Joy,  sorrow,  service,  sacrifice  and  pain! 

No  portals  may  bar  sorrow  out  nor  dread. 

And  these  expectant,  empty  rooms  await 
The  sold  new  born,  the  body  newly  dead. 

Rapture  and  grief,  and  all  the  gifts  of  Fate.  . . . 

But  when  a hundred  human  years  have  gone. 

Here  on  this  south  and  sunward-looking  slope, 

God  grant  this  homely  fortress  fronts  the  dawn 
With  still  unconquered  kindliness  and  hope! 

— Don  Marquis. 


Book  of  Houses 


9 


INVITING 
ENTRANCES 
TO  THE 
HOUSE 


The  entrance 
should  crystallize 
the  architechire. 
In  the  residence  of 
H.  P.  Vaughan  at 
Sherborn,  Mass., 
the  architecture  is 
Cape  Town  Dutch, 
and  the  doorwav 
typifies  it.  G.  P. 
Fernald,  architect 


Another  of  the 
doors  in  the 
Vaughan  residence 
is  cut  in  the  old 
Dutch  fashion  and 
lighted  by  a square 
panel  above,  giv- 
ing the  door  an 
unusual  interest  of 
line  and  decora- 
tion. Shield  panels 
add  to  the  effect 


For  a Dutch  Co- 
lonial type  the 
Germantown  hood 
and  settles  form  the 
most  pleasing  and 
simple  entrance 


A hooded  entrance 
lends  protection  to 
the  door  of  the 
home  of  G.  A. 
Blake,  Esq., 
Charles  City,  Iowa 


The  broken  pedi- 
ment is  a type 
often  used  suc- 
cessfully with  a 
Colonial  entrance 
porch.  From  the 
residence  of  W.  B. 
J o h n s o n.  Esq., 
Charles  City,  Iowa 


An  overhang  forms 
the  porch  roof  in 
the  residence  of  G. 
R.  Morris,  Charles 
City,  Iowa,  the 
entrance  coming  at 
one  corner  ub  a 
flight  of  brick  steps 


{Left)  The  half-timbered  house 
can  have  a separate  entrance 
porch,  as  in  the  residence  of 
Mrs.  C.  P.  Orvis  at  Scarsdale, 
A,  1'.  J.  A.  Bodker,  architect 


‘Right-.  Tudor  brick  arches 
with  a whitewashed  brick  ves- 
tibule form  tlw  entrance  to  the 
home  of  Gardner  Steel,  Esq.,  in 
Pittsburg,  Pa.  Loui-.  Stevens 
was  the  architect  of  the  house 


-"t  'V' 


10 


House  & Garden’s 


.1  splendid  study  in  contrasts  is  found  in 
the  residence  of  Harry  Harrison,  Esq.,  at 
,St.  Davids.  It  opens  on  a wide  circling 
drive  and  is  flanked  with  evergreens  sil- 
houetted against  whitewashed  walls 


OLD  and  NEW  DOORS 


Philadelphia  is  recognized  as  an 
architectural  center  both  of  the  past 
and  present.  The  Germantown  hood 
on  this  residence,  for  exampl  i,  is  a 
distinguishing  detail  of  Colonul  Phil- 
adelphia architecture.  A distinctive 
note  is  given  by  the  stone  jars 


A trellised  gate  repeats  the  curve  of  the 
entrance  hood.  Boxwood  borders  the 
front  iawn.  The  terrace  and  walls  are 
of  red  brick  relieved  by  trellises 


The  fan  light  window,  plain  panel  door  and 
semi-circular  door  step  of  brick  were  first 
found  at  Stenton  and  are  now  copied  in 
modern  ivorks.  Philip  Dyre  was  the  archi- 
tect of  this  house 


Lights  over  the  door  and  on  the  sides 
give  the  Colonial  entrance  an  interesting 
silhouette  from  within.  The  top  panes 
are  known  as  fan  lights  or  sunbursts 


Book  of  Houses 


11 


WINDOWS 
THAT  GIVE 
CHARACTER 

to  a 

FACADE 


This  unusual  stairs 
window  repeats  the 
general  character  of 
the  door  below  and 
abundantly  lights  the 
hall.  Frederick  J. 

Sterner,  architect 


The  overdoor  window 
and  two  story  bay  are 
especially  distinctive 
types  in  the  English 
house  to  the  right. 
.4.  Winter  Rose,  archi- 
tect 


Casement  windows 
add  interest  to  a fa- 
cade. In  this  residence 
they  are  placed  in  the 
sleeping  porch.  Robert 
R.  M c G 0 0 d w i n , 
architect 


The  stone  Tudor  stairs 
window  in  this  home 
is  in  keeping  with  the 
dignified  entrance  of 
that  period.  C.  A. 
Valentine  was  the 
architect 


Arched  dormer  win- 
dows, casements  and 
double  sash  are  all 
used  successfully  in 
this  Colonial  design. 
AT ur phy  & Dana  , 
architects 


An  arched  panel  sunk 
in  above  a window 
will  give  it  distinction 
and  add  variety  to  a 
facade.  Heacock  &■ 
B'okanson  were  the 
architects 


In  a long  dormer  a row  of  casetnent  wuidows  can 
be  effectively  used.  The  sun  room  windows  here 
are  unusual.  J.  U'.  O’Connor,  architect 


12 


House  & Garden’s 


An  unusual  location  for  the  chim- 
ney is  in  the  angle  of  the  wall, 
where,  as  here,  it  can  crop  out 
against  the  contrasting  stucco. 
From  a house  in  England  de- 
signed by  Geoffry  Luca,  architect 


Gillies 


A Cluster  of  twisted  chimneys 
such  as  this,  in  the  residence  of 
George  Marshall  Allen,  Esq., 
at  Convent,  N.  J is  an  em- 
phatic point  of  focus  on  the 
sky  line  of  the  house.  Charles 
I.  Berg,  architect 


A very  unusual  design  is  found  in 
this  stack  of  an  English  country 
house  — very  broad  at  the  base, 
with  a slate  collar  and  widely 
separated  chimneys  diagonal  with 
reference  to  the  house  line 


The  stepped  chimneys  of  Ber- 
muda are  unusual  and  grow 
in  size  with  the  annual  coat  of 
whitewash  given  these  houses 


A stack  rising  out  of  the  val- 
ley of  the  eaves  is  an  interest- 
ing architectural  expression. 
Its  form  is  in  keeping  with 
the  simplicity  of  the  faqade. 
Edmund  B.  Gilchrist  was  the 
architect 


1 1 


Book  of 


Houses 


13 


EXTERIOR 


LATTICE  THAT 


ENLIVENS 


WALLS 


a garden  background  and  en- 
closure for  the  service  yard  lattice 
is  excellent.  The  design  shoidd  be 
carefully  chosen  and  worked  out 


Tying  up  with  the  wood 
trim,  the  lattice  that  cov- 
ers the  pillars  of  this 
porch  has  pleasing  deco- 
rative value.  From  the 
residence  of  M.  J.  Cur- 
ran, Esq.,  Phillips  Beach, 
Mass.  Peare  & Quiner 
were  the  architects 


Placed  around'  the  en- 
trance, lattice  both  adds  a 
decorative  note  and  serves 
the  utilitarian  purpose  of 
carrying  vines  that  will 
eventually  cover  it.  The 
residence  oi  Dr.  S.  Sco- 
field. Douglaston,  L.  1. 
R.  C.  Edwards,  architect 


For  formal  grouping  with 
a window  the  lattice 
shoidd  be  of  a special 
design  which  carries  out 
consistently  the  period  or 
decorative  note  of  the 
architecture  of  the  house 


In  a less  public  spot  the 
lattice  decoration  for  the 
window  need  not  be  so 
formal,  as  shown  in  the 
photograph  below.  Both 
examples  are  taken  from 
the  Curran  residence 


14 


House  & Garden’s 


THE  TOUCH 

of 

WROUGHT 

IRON 


A delicate  tracery  of 
wrought  iron  forms  the 
balconies  over  the  en- 
trance of  the  Frank  A. 
Hine  residence  at  Glen 
Cove,  L.  I.  Walker  & 
Gillette,  architects 


Book  of  Houses 


15 


If  not  used,  a halhvay  can  be 
blocked  up  with  book  shelves, 
making  a cosy  reading  corner. 
On  the  other  side  can  be  a 
clothes  closet 


One  end  of  this  double  closet 
holds  laundry  hamper  and 
bathroom  supplies,  while  the 
other  is  fitted  with  shelves  for 
linen  and  blankets 


The  doors  of  the  bedroom 
closet  can  have  long  mirrors 
to  afford  a complete  view. 
The  walls  can  be  covered  with 
the  fabric  used  for  curtains 


A special  closet  for 
tools,  a closet  big 
enough  to  work  in, 
is  the  dream  of 
every  handy  man 
about  the  house 


The  built-in  ward- 
robe should  be  sup- 
plied with  plenty  of 
shelves  and  clothes 
poles.  Mirrors  can 
be  either  inside  or 
outside  the  doors 


The  end  of  the  bed- 
room chimney 
breast  usually  af- 
fords space  for  a 
small  boot,  linen  or 
book  closet 


CLOSETS 

for 

EVERY 

ROOM 


16 


House  & Garden’s 


An  indented  panelhig  forms  the 
shelf  and  overmantel  in  the  living 
room  of  the  residence  of  J.S.  Halle, 
Esq.,  at  Tarrytown,  N . Y . 
Cupboards  are  concealed  behind. 
Taylor  & Levi,  architects.  Amy 
Sominers,  decorator 


The  old  flower  picture  is  a favorite  for  over- 
mantels. Add  to  it  a pair  of  tole  vases,  little 
figurines  and  a strip  of  old  velvet  to  break  the 
mantel  line.  Lee  Porter,  decorator 


A painting  hung  flat  against  the  wall  is  the  sim- 
plest decoration.  Care  should  be  exercised  in 
selecting  a suitable  canvas  and  arranging  the 
mantel  ornaments.  Lee  Porter,  decorator 


The  living  room  fireplace  in  the  residence  of 
Frederick  Dana  Marsh,  Esq.,  at  New  Rochelle, 
N.  V.,  is  surmounted  by  a carved  gilt  mirror 
and  antique  columns.  H.  G.  Morse,  architect 


In  a man’s  room  a cupboard  has  been  built  in 
the  overmantel  paneling  to  serve  as  gun  closet. 
Cups  and  mounted  trophies  are  used  for  decora- 
tions. The  architect  was  Robeson  Lea  Perot 


FIREPLACES 
AND  THEIR 
DECORATION 


Book  of  Houses 


17 


There  is  an  atmosphere  of  privacy 
about  a fireplace  in  a fog.  In  this 
residence — the  Dobyne  House  at 
Beverly  Farms,  Mass. — the  din- 
ing room  fireplace  is  set  off  hi  a 
corner  by  itself.  The  mantel  stone 
is  carved  with  family  coats  of 
arms  and  above  that  is  a plain 
panel  to  be  filled  some  day  with  a 
painting,  flanked  by  carved  panels 
and  narrow  closets 


A living  room  fireplace  of  dig- 
nity and  distinction  has  stone 
sides  and  a heavy  oak  carved 
mantel.  Inset  bookcases  range  on 
cither  side.  The  furniture  group- 
ing leaves  an  open  space  before 
the  hearth.  Color  is  given  this 
room  by  the  Chinese  panels  be- 
tween bookcases,  and  the  plaster 
beamed  ceiling  which  is  painted 
blue,  red  and  white 


The  unusual  blending  of 
brick  and  cement  and  the 
little  niche  high  up  by  the 
ceiling  give  this  bedroom 
fireplace  interesting  indi- 
viduality. A rag  mat  lies 
before  th‘>  hearth.  The  chair 
covering  is  of  green.  F.  Pat- 
terson Smith,  architect 


1 ^ — — 

i 

Jy  -rj 

: ^ f 

r 

18 


House  & Garden’s 


STAIRS 


An  excellent  example  of  a whorl 
newel — a small  turned  newel  en- 
circled by  a whorl  of  spindles — is 
found  in  “Whitby  Hall,”  Philadelph-a 


Modern  turned  spindles  of  good  line 
are  used  on  the  stairs  at  “Cogshill,” 
the  Philadelphia  home  of  Jessie  Wil- 
cox Smith.  E.  B.  Gilchrist,  architect 


A stair  panel  in  wrought  iron,  after 
the  French  ISth  Century  mode,  exe- 
cuted by  Samuel  Yellin,  is  shown  in 
the  center  above 


The  substantial  characteristics  of  late 
17th  Century  spindles  and  newels  are 
found  in  the  hall  at  “Heale  House,” 
Salisbury,  England 


Squnn  spindles  and  newels  with  mahogany  hand-rails  and  cap 
constitute  a good  modern  usage.  E.  B.  Gilchrist,  architect 


.Arcaded  English  Renaissance  spindles  and  newels,  in  the  home  of 
J.  B.  Townsend,  Esq.,  Bryn  Maivr,  Pa.  Eyre  & Mcllvaine,  architects 


19 


Book  of  Houses 


In  modem  repro- 
duct i o n s of  the 
classical  doorway 
the  frame  is  often 
painted  on?  color 
and  the  door  an- 
other. Delano  & 
Aldrich,  architects 


In  the  C olonia 
houses  of  New  En- 
gland ih?  classical 
interior  door  was  a 
sine  qua  non.  It 
was  beautifully  pro- 
portioned  and 
modeled 


A succession  of  wide  doorways,  each  with  its  distinctive  frame,  affords  a pleas- 
ing vista,  hi  this,  the  New  York  residence  of  A.  G.  Paine,  Jr.,  the  wide  door- 
ways add  to  the  openness  of  the  room  scheme.  C.  P.  H.  Gilbert,  architect 


u 


In  the  New  York  residence  of 
Stewart  Walker,  the  architect,  an 
old  cupboard  has  been  introduced 
for  a doorway,  a novel  and  dis- 
tinctive treatment 


The  interior  door  is  capable  of 
carrying  much  decorative  detail. 
In  this  doorway  of  an  Englhh 
residence  a decorative  panel  is  in- 
troduced over  the  lintel 


Wall  ornaments  may 
lake  the  shape  of 
molded  plaster 
swags  and  drops,  as 
in  this  example  of 
early  18iA  Century 
work  found  at  this 
London  residence 


A combination  of 
molded  niches , 
flower  swags  and 
ceiling  ornament 
characteristic  of 
early  Wth  Century 
work,  dignifies  this 
English  hallway 


A molded  plaster  frieze,  pilasters  and  ceiling  enrichinent  enter  into  the  deco- 
rative composition  of  this  mid-lSth  Century  dining  room.  Sir  Ernest  New' 

ton,  architect 


A i ■ nter  ceiling  decoration  of 
great  delicacy  found  in  the  Powel 
House,  o Colonial  Philadelphia 
residence 


THE  MOLDED  PLASTER  CEILING 


Another  of  the  molded  plaster 
ceiling  decorations  which  are 
found  in  the  old  Powel  House  at 
Philadelphia 


Book  of  Houses 


21 


on 

WALLS 

and 

CEILINGS 


Hand-adzed  open  beams 
have  a quality  of  pleas- 
ing crudness  that  makes 
their  use  acceptable  for 
cotmlry  houses.  Pea- 
body, Wilson  & Brown, 
architects 


To  the  left  we  have  a 
bedroom  in  an  English 
cottage  where  open 
rafters  and  beams  give 
the  ceiling  an  unusual 
character.  A.  N.  Pren- 
tice, architect 


The  minstrel’s  gallery 
of  this  fnodern  home  is 
used  for  a writing  cor- 
ner. Its  position  and 
beamed  treatment 
make  it  unusual.  Henry 
G.  Morse,  architect 


An  open  timbered  ceil- 
ing establishes  antiquity 
and  picturesqueness.  The 
stairs  in  this  living  room 
are  built  on  heavy  sup- 
porting beams  in  character 
with  the  other  construc- 
tion. Bloodgood  Tuttle, 
architect 


The  room  above  is  a copy 
of  one  in  England.  To 
maintain  the  exact  spirit 
of  the  original  the  hard- 
ware and  timbers  were 
hand-wrought  and  the  trim 
and  plaster  applied  un- 
evenly. John  P.  Benson, 
architect 


The 


RIGID  DELICACY  of  a FREE 


STANDING  STAIRS 


One  of  the  best  modern  examples  of  a free  standing  stairs  that  we  have  in  America  is  to  be  found  in 
the  residence  of  R.  L.  Bacon,  Esq.,  at  Westbury,  L.  /.  It  is  attached  to  the  main  construction  only  at 
top  and  bottom.  While  rigid,  it  is  also  delicate.  The  wrought  iron  balustrade  is  painted  dull 
black  and  the  rosettes  are  touched  with  burnished  gold.  The  architect  was  John  Russell  Pope 


Book  of  Houses 


Even  in  the  most  formal  rooms 
of  classical  design  the  plaster 
tinted  wall  forms  a fitting  back- 
ground for  the  furniture.  The 
molded  frieze  and  niches  with 
their  wrought  iron  consoles  in 
this  dining-room  add  to  its  char- 
acter. Delano  & Aldrich,  archi- 
tects 


Mark  out  the  plaster  wall  with 
moldings,  and  you  have  a paneled 
wall.  If  desired  the  wall  can  first 
be  covered  with  canvas.  After 
that  painting  produces  any  de- 
sired effect.  The  walls  to  the 
right  are  peacock  blue  with  gold 
moldings.  Mrs.  Emott  Buel,  dec- 
orator 


Remembering  that  the  wall  is  the 
background  of  the  room,  one 
should  choose  its  finish  according 
to  the  furniture  to  be  used.  In 
the  room  below  oak  furniture  is 
placed  against  rough  cast  walls. 
The  ceiling  has  open  beams. 

Albert  J.  Bodker,  architect 


One  of  the  most  satisfactory  wall 
finishes  is  dignified  wood  panel- 
ing. The  color  of  the  paint  will 
decide  the  tone  of  the  room.  In 
this  dining-room  a pale  green 
tint  is  used  effectively  with  the 
Hepplewhite  furniture  and  simple 
fireplace.  Harry  Redferji,  archi- 
tect 


SIX  TYPES 

of 

WALL  FINISH 


Wood  stained  and  oiled  makes  an 
elegant  background,  especially  if 
the  wood  is  well  chosen  and 
placed  in  regard  to  its  grain.  It 
serves  in  the  hallway  below  to 
give  character  to  the  Italian  fur- 
niture grouped  before  it.  Lee 
Porter  was  the  decorator 


24 


House  & Garden’s 


Where  one  desires  jormalHy,  as  in  this 
Adam  dining-room,  the  floor  should  be  oj 
marble.  A substitute  jor  this  expeyisive 
treatment  would  be  tiling  or  even  checked 
linoleum  oj  a high  grade.  In  less  formal 
rooms  the  floor  could  be  painted  to  simu- 
late tiles.  Howard  Major,  architect 


Brick  laid  in  white  bond  makes  a pleasant 
and  permanent  flooring  jor  the  porch,  sun 
room  or  terrace.  Tile  might  also  be  used 
or  tile  inserts  with  brick.  Here  the  red 
oj  the  bricks  contrasts  with  the  white- 
washed walls  and  green  shutters.  Charles 
Willing,  architect 


A I’ery  unusual  floor  treatment  jor  a timbered 
room  consists  in  using  hand-adzed  planks  smoothed 
doivn.  Henry  G.  Morse,  architect 


TILE,  BRICK,  WOOD 
and  CEMENT  FLOORS 


Book  of  Houses 


25 


The  parquet  floor  is  justly  popular  because  it  is 
serviceable,  permanent  and  adds  interest  to  a room. 
Bloodgood  Tuttle,  architect 

THE  VARIED  FOUN- 
DATIONS of  A ROOM 


The  floor  in  the  living-room  above  con- 
sists of  wide  boards  pegged  down.  It  is 
smoothed,  oiled  and  polished  so  that  the 
rich  grain  of  the  wood  is  brought  out. 
The  ceiling  beams  are  hand-adzed  and  the 
walls  rough  plaster.  Bowen  Bancroft 
Smith,  architect 


It  is  a fallacy  that  paved  floors  are  neces- 
sarily cold,  cheerless  and  uncomfortable. 
One  can  use  rugs  to  suit  the  taste.  The 
floor  has  a satisfying  solidity,  and  is  easily 
cleaned.  The  floor  in  the  room  below  is 
paved  with  biscuit  colored  quarries. 

George  Howe,  architect 


26 


House  dr  Garden’s 


THE  INSIDE 


Leaded  casement  windows  odd  finish  to  this  hrench  doors  and  windows  are  fitted  for 

dining  room.  Cross  & Cross,  architects  interior  passages  and  exterior  entrances 


WINDOWS  FROM 


The  Colonial  window  and  its  Arched  triple  windows  will 

decorative  trim  has  a simplicity  lighten  the  sun  porch.  Kenneth 

worth  copying  Murchison,  architect 


A cottage  room  is  enhanced 
ivith  small  pane  windows. 
F.  Sterner,  architect 


Rounded  arched  windows 
suit  the  stairs.  E.  B.  Gil- 
christ, architect 


A PORTFOLIO 

of 

LARGE  and  SMALL  HOUSES 


Plans,  Interiors,  Service  Quarters  and  Garages 
and  a Note  on  Visualizing  the  New  House 


28 


House  & Garden’s 


WHITE  AS  A 


COLOR 


FOR 


HOUSES 


Not  o?ily  because  it  is  just  as  durable  as  other  colors, 
but  because  it  is  more  pleasing  and  more  usejul,  white 
is  the  best  for  country  houses.  It  accents  the  house 
in  the  landscape.  It  reflects  the  sunlight  so  that  its 
shadows  are  all  the  more  shadowy.  It  forms  a per- 


fect background  for  vines  and  shrubs  and  adjacent 
trees  to  silhouette  against.  And  it  imparts  a clean, 
fresh  air  so  desirable  for  the  home.  If  you  doubt  it, 
study  this  portico  of  the  F.  P.  King  residence  at 
Tarrytown,  N.  Y.  Aymar  Embury  II.  architect 


Book  of  Houses 


29 


VISUALIZING  THE  NEW  HOUSE 


The  home  of  N.  C.  Rinek. 

Easton,  Pa.,  was  inspired  by 
a Cotswold  design.  Plans 
were  obtained  from  the 
English  architect 

The  evolution  of  the  house 
plan  is  marked  by  several 
stages,  each  of  which  is  more 
complicated  and  more  finished 
than  the  one  before. 

First  the  architect  may  draw 
the  roughest  sort  of  sketch  during 
tlie  client's  first  visit,  when  the 
general  idea  of  the  house  is  dis- 
cussed. 

Next  he  makes  the  preliminary 
drawing.  These  may  be  in  pen- 
cil, water  color  or  pen  and  ink, 
and  will  picture  the  house  as  it 
should  appear  when  finished.  No 
dimensions  are  given — these  are  merely  pic- 
tures for  the  owner  to  study. 

Then,  if  the  owner  has  accepted  the  pre- 
liminaries, there  come  the  working  drawings, 
finished  blue  prints,  that  show  34”  scale  plans 
and  elevations,  34"  or  scale  details  and 

in  some  cases  full  size  details.  With  these  the 
builders  can  go  ahead. 

These  sets  of  drawings  might,  at  first,  seem 
adequate,  and  yet  many  owners  are  not  able  to 
grasp  in  full  detail  all  that  the  plans  hold.  It 
is  no  small  knfck  to  visualize  the  completed 
house  from  even  the  most  finished  of  pre- 
liminary drawings  and  scale  plans.  One  must 
think  in  three  dimensions.  Consequently,  the 
model  can  be  built. 

Now  a model  is  a luxur}-.  Find  a man  who 
has  a model  of  his  prospective  house,  and  you 


find  one  who  can  afford  to  pay  for  such  grati- 
fications. And  yet,  no  owner  can  really  afford 
to  miss  the  details  that  model  can  give,  unless 
he  is  willing  to  risk  ultimate  disappointment. 
Building  a house  should  be  such  an  event  in  a 
man's  life  that  he  will  miss  no  opportunit}-  to 
make  that  house  approximate  perfection.  The 
model  helps  him  do  this.  It  is  the  finished 
house  greatly  reduced.  Placed  in  a setting 
that  approximates  his  own,  he  can  study  con- 
tour, lights  and  shades,  ]>roportions  of  wings 
and  the  arrangement  of  windows. 

Models  can  be  made  simple  or  elaljorate, 
with  paper  walls  and  roofs  or  finished  in  ma- 
terials that  faithfully  simulate  Iwick  and  tim- 
ber, stucco  and  slate.  The  model  may  even  lie 
made  in  sections;  a section  to  a floor,  so  that 
the  disposition  of  the  room  and  the  location  of 


From  the  plans  and  eleva- 
vations  the  model  was  built. 
.4  study  of  these  two  pic- 
tures shows  the  value  of  a 
model 


the  doors  and  windows  studied. 
These  depend  on  how  much  the 
owner  wants  to  pay. 

Working  with  a model  as  a 
basis  he  can  also  plan  the  outline 
of  his  landscaping,  study  the 
massing  of  shrubbenx  measure 
the  proportion  of  the  lawns  and 
drying  }’ards,  walks  and  drives. 

The  new  house  may,  in  reality, 
be  an  old  one  that  the  owner 
])lans  to  restore  or  remodel.  In 
this  case,  no  architectural  model 
is  necessary,  althougli  it  is  just 
as  necessary  that  he  should  visu- 
alize the  finished  place  before  the  work,  is 
started. 

The  restoration  of  old  houses  to  their  erst- 
while glory  is  the  most  intere.sting  task  the 
owner  can  set  himself,  es]iecially  if  he  finds  a 
Colonial  or  Georgian  house  of  good  design 
and  workmanship.  Here  he  should  strive  to 
maintain  the  original  atmosphere,  keeping  to 
style  and  detail  in  any  additions  or  modern 
improvements.  .A.  Spanish  idiosyncrasy  will 
ruin  a Colonial  house  and  Italian  touches  on 
a Georgian  liou.se  are  an  aliomination. 

Remodeling  an  old  hou.se  is  (juite  a different 
matter  liecause  tlie  original  architecture  may  lie 
atrocious — alleged  Queen  .Anne  or  (luestionable 
Rural  Gothic.  Here  the  old  arcliitecture  must 
be  hidden  beneath  the  new,  and  the  new  can  lie 
almost  anv  stvle  one  chooses. 


30 


House  &.  Garden’s 


The  RESIDENCE 

of 

C.  C.  MULLALY, 

Esq. 

PHILIPSE  MANOR,  N.  Y. 


DWIGHT  J.  BAUM, 

Architect 


On  one  side  of  the  ground  floor  are 
the  dining  room  and  service  section; 
on  the  other,  the  living  room  with 
Us  flanking  porches  and  fireplace  at 
one  end.  Four  bedrooms  and  two 
baths  are  above,  besides  the  maid's 
quarters 


An  unusual  architectural  feature  no- 
ticeable at  the  rear  is  the  manner  m 
which  the  larger  dormer  has  been 
brought  forward  so  that  it  blends 
into  the  main  line  of  the  house,  thus 
greatly  increasing  the  bedroom  space 


Gillies 

The  house  is  of  Dutch 
Colonial  influence,  clap- 
boarded,  comfortably  loiv 
to  the  ground  and  with  red 
bricked  porches  and  door- 
step. It  is  white,  with  blu- 
ish-green blinds  and  red 
tile  chimney  caps 


The  entrance  is  sharply 
accented  by  its  peaked  * 
gable  within  which  the 
space  is  occupied  by  a 
bathroom.  A box  of  gerani- 
ums and  trailing  foliage 
plants  crowns  the  door 
frame,  adding  a touch  of 
color 


Book  of  Houses 


3 


The  furnishings  of  the 
house  are  consistent  with 
the  exterior.  Here  in  the 
bedroom,  for  example,  are 
cream  colored  walls,  hand- 
blocked  chintz  curtains, 
hooked  rugs,  an  old  four- 
poster  with  valance  and 
tester  and  a lovely  old  silk 
patchwork  quilt 


On  the  dining  room  walls 
is  a quaint  gold  and  green 
paper  with  a design  of 
urns.  The  rug  is  green 
and  the  furniture,  which  is 
painted  mahogany  color, 
has  simple  gold  decora- 
tions. Old  brass  candle- 
sticks and  green  tole  vases 
on  the  mantel  complete  the 
Colonial  schem‘> 


“BOXWOOD”,  the  RESIDENCE 
of  MRS.  ANNE  WARD  SAGE 

At  Middlehurg,  Piedmont  J^alley, 
Virginia 


To  the  old  farmhouse  the  owner  added  a wing.  Other- 
wise it  is  as  it  was  at  the  beginning.  The  walls  are 
field  stone,  with  a roof  of  dark  gray.  The  deep  porch 
and  galleries  are  characteristic  of  Southern  architectiire 


32 


House  & Garden’s 


An  effective  planting  of  honey- 
suckle and  box  adds  to  the 
atmosphere  of  intimacy  and 
simplicity  of  the  entrance. 
Shingles  form  a fitting  back- 
ground 


It  is  a careful  study  of  the 
Long  Island  farmhouse.  The 
shingles  are  whitewashed, 
shutters  blue-green,  chimneys 
white  with  black  caps 


Mahogany  and  oak  furniture 
are  combined  in  the  living 
room.  An  overdoor  panel  by 
Rosina  E.  Sherwood,  and  an 
overmantel  by  Wilfred  D. 

Glehn  give  color  notes 


The  RESIDENCE  oj 
J.  M.  TOWNSEND 
Jr.,  Esq. 

MILL  .NECK,  L.  I. 

W.  LAWRENCE  ROTTOMLEY 

Architect 


33 


Book  of  Houses 

A HOUSE  FOR  TWO  in  the  SOUTHERN  STYLE 


Being  the  Residence  of  F.  C.  Malcolm,  Esq.,  at  Pelham,  N.  Y. 
of  Which  the  Architect  Was  Julius  Gregory 


IT  is  a distinct  problem  to  create  a livable 
small  house. 

By  a small  house  we  mean  one  that  has  suf- 
ficient accommodations  for  two  and  a servant, 
or  two  and  a child  and  a servant. 

By  livable  we  mean  a house  that  you  can 
live  in  and  still  maintain  your  self-respect. 

There  are  hosts  of  small  houses  scattered  over 
the  country,  but  it  cannot  be  said  of  all  of  them 
that  they  are  livable  according  to  this  canon. 
Yet  the  more  people  appreciate  the  relation  be- 
tween good  architecture,  good  decoration  and 
good  living,  the  quicker  will  they  demand  that 
small  houses  be  designed  and  furnished  with 
the  same  care  and  professional  skill  that  is  lav- 
ished on  large  houses. 


A case  in  point  is  the  small  house  shown  on 
this  page.  The  aim  of  the  architect  was  to  give 
to  it  the  character  and  dignity  found  in  some 
of  the  old  Southern  Colonial  types  of  architec- 
ture. This  has  been  accomplished  by  simple 
materials  used  in  a natural  way. 

The  scheme  of  a two-story  porch  follows  the 
Southern  Colonial  precedent.  Further  Col- 
onial details  are  the  broad  chimney  furnishing 
fireplaces  on  two  floors,  the  quarter-circle  win- 
dows on  each  side  the  chimney,  the  small  paired 
windows  throughout,  with  pierced  shutters, 
and  the  distinctly  Colonial  type  of  entrance 
door  with  side  and  fan  lights.  The  materials 
used  were  white  clapboard  on  the  side  and 
matched  boarding  on  the  front.  The  chimney 
is  brick  whitewashed,  the  surface  being  broken 
half  way  up  with  a wrought  iron  device  and 
the  cap  pronounced  with  a triple  row  of  un- 
painted brick. 

The  Plan 

Inside,  the  plan  is  simple.  There  is  the 
usual  house-depth  central  hallway  with  living 
room  on  one  side  and  dining  room  on  the  other, 
both  letting  out  on  the  front  terrace,  which  has 
a brick  floor,  through  French  doors.  The  sun 
porch  is  so  located  that  it  is  connected  with 

Southern  Colonial  in  character,  the  exterior  is  a com- 
bination of  simple  materials  used  in  a natural  way. 
Clapboard  walls  are  painted  white,  chimney  white- 
washed and  blinds  painted  green 


the  pantry,  through  the  kitchen,  and  can  be 
used  for  a dining  porch. 

Stairs  leading  to  the  second  floor  have  a sim- 
ple iron  rail  and  open  on  a narrow  hall  that 
gives  access  to  the  four  bedrooms.  These  four 
bedrooms  are  served  by  two  baths.  There  is  a 
plenitude  of  closet  space.  On  the  third  floor 
are  sufficient  accommodations  for  a maid — a 
bedroom  and  bath — and  large  storage  spaces. 

While  there  is  nothing  unusual  about  this 
plan,  it  is  livable,  compact  and  provides  a 
maximum  of  comfort  and  accommodations. 
Rooms  are  well  lighted  and  well  ventilated. 
They  furnish  a background  against  which  the 
occupants  by  the  exercise  of  discriminating  taste 
can  create  rooms  of  interest  and  distinction. 


The  first 
floor  plan  is 
simple  and 
compact, 
with  livable 
space  assign- 
ed to  each 
room 


On  the  sec- 
ond floor  are 
four  b e d- 
rooms,  two 
baths  and  a 
plenitude  of 
well  placed 
closets 


34 


House  & Garden’s 


.h  the  house  is  built 
0)1  a sloping  grade,  the 
garage  is  under  the 
kitchen.  The  window 
arrangement  on  this 
facade  is  irregular  hut 
interesting.  The  bal- 
cony of  the  stairs  land- 
ing can  be  seen  and  the 
window  of  the  break- 
fast room  with  i/i 
window  box 


An  ITALIAN  HOUSE  for  the 
COUNTRY-  TAe  HOME 
of  ALFRED  I.  STERN 

SCARSDAI.E,  N.  Y. 

KANDOU’H  II.  .AI.MIRlirV,  .Irclnu-a 


The  porch  is  in- 
corporated in  the 
structure  itself 
and  carried  out 
on  each  side. 
The  roofs  of 
these  end  sec- 
tions are  natural 
cedar  lattice 
which,  in  time, 
will  be  covered 
with  vines 


Looking  down 
the  terrace  you 
see  the  brick 
pavenient,  the 
solid  doors  to 
the  arched 
French  win- 
dows and  the 
heavy  decora- 
tive brackets 
of  the  gallery. 
Potted  plants 
range  down  the 
terrace  edge 


Book  of  Houses 


35 


T he  walls  are 
light , pinkish 
gray  stucco  and 
the  roof  is  of 
variegated 
slate.  On  this 
side  long  win- 
dows open  on 
a brick  paved 
terrace  from 
which  steps 
,give  approach 
to  the  garden. 
At  each  end  is 
a covered  porch 
with  arched 
o penings . A 
'gallery  with  a 
wrought  iron 
railing  runs 
along  the  level 
of  the  second 
floor 


.1  simple  arrangement  is  found  on  the  first  floor — house-depth  hall  with 
living  room  on  one  side  and  dining  and  breakfast  room  on  the  other. 
Kitchen  and  service  rooms  are  separate.  There  are  plenty  of  closets 


On  the  second  floor  are  four  master  bedrooms,  two  of  them  opening 
on  the  gallery.  Four  baths  are  provided.  Servants’  chambers  and 
hall  are  separate,  securing  privacy.  The  stairs  wind  interestingly 


36 


House  & Garden’s 


THE  THING  THAT 

Wheyi  Oliver  Goldsmith  wrote  that  he  loved  everything  old — old 
fnemh.,  old  times,  old  manners,  old  hooks,  old  wine — he  unaccount- 
fibly  forgot  to  mention  old  houses.  The  dwellings  and  the  actual 
haunts  of  his  old  friends  must  have  included  among  them  some  of 
those  happy  Tudor  creations  which  still  remain  as  beautiful  wit- 


GOLDSMITH  FORGOT 

nesses  to  the  vitality,  freshness  and  pride  of  the  village  mason  and 
carpenter.  It  is  in  the  naive  spirit  of  that  period  that  the  Resi- 
dence of  Allan  S.  Lehman,  Esq.,  at  Tarrytown,  N.  Y.,  has  been 
built.  This  entrance  motive  is  reminiscent  of  that  time  of  fine 
craftsmen  and  noble  residences.  John  Russell  Pope,  architect 


Book  of  Houses 


37 


The  architecture  is  simple  and  dignified,  carrying  out  the  general  Italian  feeling.  The  wings  house  garage  and  service  quarters.  It 

is  a compact  house,  readily  heated  and  easily  run 


Eliminating  unused 
rooms,  the  first  floor  con- 
sists of  a smart  entrance 
hall,  a graceful  little 
stairs,  a large  living-room 
with  a small  study  on  one 
side  and  an  octagonal 
dining-room  on  the  other 


Upstairs  the  plans  call  for 
three  bedrooms,  each 
large  and  well  aired, 
opening  onto  iron  bal- 
conies. A dressing  and 
bathroom  is  provided  for 
each,  with  a little  sewing- 
room  looking  over  the 
forecourt 


AN  ITALIAN 
COUNTRY 
HOUSE 


RICHARD  HENRY 
DANA,  Jr.,  Architect 


38 


House  & Garden’s 


THE  RESIDENCE  of 
MAXWELL  S.  MANNES,  Esq. 
UPPER  NEW  ROCHEELE,  N.  Y. 

ALBRO  & LINDEBERG,  Architects 

An  unusual  color  scheme  has  been  used  on  the  sun  porch — heliotrope, 
dull  black  and  French  gray.  The  bench  hiding  the  radiator  is 
upholstered  in  gray  and  black  linen.  The  curtains  are  glazed  chintz 


The  servants’  quarters  are  connected  with  the  garage,  chauffeur's 
and  gardener’s  apartments  by  an  enclosed  courtyard.  There  are 
jour  rooms  on  the  jirst  floor  and  seven,  with  a sleeping  porch, 
above 


estate.  It  is  white  clapboard  with  green  shingles  and  blinds, 
awnings  are  in  jield  green  and  white.  A rough  chimney  adds  a 


Book 


0 


\ 

f Houses 


39 


One  end 
of  the 
house 
terminates 
in  a per- 
gola-roof- 
ed porch 


— 

Bill 

= m 

Shingled 
walls  and 
broad 
eaves  give 
interesting 
effects  o f 
line 


The  architecture  fol- 
lows the  lines  of  a 
New  England  farm- 
house 


A SMALL 
HOUSE 

for 

THREE 


upstairs  there  are,  in  addition  to  the  master’s  suite  of  bedroom  and  The  downstairs  plan  shows  a house-depUi  hall  and  wide  living 

dressing  alcove,  two  chambers  and  a bath.  It  is  a house  designed  room,  with  good-sized  dining  room  and  kitchen,  after  the  Colonial 

for  a family  of  three  Hat'ry  W.  KnowUon,  architect 


40 


House  & Garden’s 


The  street  side 
shows  the  pic- 
turesque skyline, 
the  broad  wall 
surfaces  and  the 
interesting  touch 
of  half  timber 
in  the  sun  room 
gable.  The  chim- 
neys are  an  im- 
portant feature 
in  the  effect 


Upstairs  a mas- 
ter’s suite  is 
house-depth  and 
other  bedrooms 
range  down  the 
hall,  with  serv- 
ant s’  rooms 
above  the 
kitchen.  Econo- 
my of  hall  space 
gives  good  room 
area  here 


The  house  is 
modern  English 
adapted  to 
American  re- 
quirements. Built 
of  rough  red 
brick  laid  in  En- 
glish bond;  roof 
variegated  rough 
slate.  T his  view 
shows  driveway 
entrance 


A livable  plan 
has  been  devel- 
oped, opening 
from  the  hall  on 
one  side  to  the 
dining  room  and 
service  quarters 
beyond,  and  on 
the  other  to  the 
living  room  and 
loggia  with  its 
gable  roof 


THE  RESIDENCE  OF  FRANK 

RYE,  N.  Y. 


D.  POTTER,  Esg. 


Lewis  Colt  Albro,  Architect 


Book  of  Houses 


41 


THE  RESIDENCE  OE 
ERANCIS  A.  NELSON, 

Architect 

UPPER  MONTCLAIR, 
NEW  JERSEY 


The  house  lies  among  the  woods  on  slop- 
ing ground  below  the  level  of  the  road, 
with  a fine  view  from  northeast  to  south, 
a view  commanded  by  the  broad  brick 
terrace  and  the  rows  of  French  doors 
opening  out  upon  it 


Teboi 


On  the  exterior  hand-hewn  cypress  shin- 
gles are  used,  stained  with  old  Virginia 
white.  The  lines  of  the  building  and 
'woodwork  are  simple  and  farmhouse  in 
character,  the  only  attempt  at  ornamenta- 
tion being  the  fan  panels  over  the  doors 


A masteF s suite  occupies  one  end  of  the 
house,  with  a large  size  sitting  room  ad- 
jacent. Three  other  bedrooms  and  two 
baths  are  provided.  The  third  floor  has 
accommodations  for  servants  and  storage. 

Ample  closet  space  is  provided 


The  living  room  is  paneled  on  two  sides  with  bookcases  set  in.  This  is  painted  soft  gray. 
The  ceiling  is  hand-hewn  timbers  and  rough  plaster.  French  doors  open  on  the  terrace.  At 
the  end  is  an  enclosed  porch,  with  dining  room  and  service  quarters  beyond 


42 


House  & Garden’s 


!!il  SiS  B»r::  "M-!'”" >>««»inru 

•i!n  !!!-::  'M'"!""''  «»» unuSsti 

!:!!!  !!!!*■  iiiiiiSui 

!!!!!■  ’ ' iiii'iiiiiii  111 

■•III  i ^ilOi  iimiinfii  III  iiiiiiHii 

mil  ill  iiiiii  iiimiriiM  iss  iiiiiiiiii 
mil  ill  iniiiiimiiimiiiii  iiimiui 
imiin  I 1*1  iiiiaiiii 


Wallace 


The  broad  and  substantial  DtUch  Colonial 
lines  of  the  house  mass  well  against  the 
wooded  slope  behind.  It  is  wide  white 
clapboarded  with  solid  shutters  on  the 
ground  floor  and  green  blinds  above.  The 
whitewashed  chimneys  and  the  unstained 
shingles,  left  to  weather  naturally,  carry 
on  the  well  judged  simplicity  of  the  whole 


A mouse  color  rug  with  a hint  of  purple  to 
give  it  life  is  on  the  light  oak  waxed  floor 
of  the  living  room,  from  which  the  stairs 
ascend  directly.  French  gray  walls  with 
trim  a slightly  darker  tone  of  the  same 
color,  stair  treads  matching  the  floor.  The 
risers,  posts  and  balusters  are  French  gray 
and  the  handrail  is  finished  in  dark  mahogany 


Two  tones  of 
French  gray  are 
in  the  living 
room  panels,  the 
darker  one  in  the 
stiles.  The  cor- 
nice is  a very 
light  gray  which 
almost  matches 
the  ceiling.  Over 
the  mantel  is  a 
panel  of  plaster 
framed  in  wood 
which  extends  to 
the  ceiling.  At 
the  right  of  the 
picture  is  the 
entrance  to  the 
vestibule 


Book  of  Houses 


43 


The  glassed  in  porch  serves  as  a winter  sutirooni 
where  potted  plants  bloom  through  the  cold 
weather.  Above  it  is  a sleeping  porch  for  sum- 
mer use.  The  woods  and  hill  to  the  north  act 
as  good  protectors  from  cold  winds.  The  view 
shown  here  is  of  the  southwest  exposure 


The  RESIDENCE  of 
ROBERT  L.  WOOD,  Esq, 

CHESTNUT  HILL,  PA. 

JOHN  GRAHAM,  Jr.,  Architect 


At  the  east  end  of  the  red 
brick  paved  terrace  is  the 
breakfast  porch  with  its 
pergola  roof.  Here  and  on 
the  supporting  pillars  grow 
climbing  vines.  A line  of 
stepping  stones  leads  from 
the  end  of  the  terrace 


There  is  little  waste  space 
in  the  house,  considerable 
cleverness  having  been 
shown  in  the  utilization  of 
the  corners  and  angles.  As 
is  fitting  in  a house  of  this 
architectural  style,  the  plan 
shows  open  rooms  without 
suggestion  of  restriction 


At  the  rear  is  the  entrance 
with  its  two  white  painted 
benches,  knocker  and  old 
black  iron  hanging  lantern. 
This  entrance  opens  into 
the  vestibule  which  in  turn 
connects  directly  with  the 
living  room  shown  opposite 


Two  bathrooms  and  four 
chambers  are  on  the  sec- 
ond floor,  besides  the  ser- 
vants’ quarters.  A fire- 
place in  the  children’s  room 
is  a welcome  feature  on 
wintry  nights.  A straight 
lengthwise  hallway  serves 
all  Ate  rooms 


44 


House  & Garden’s 


The  large  bungalow  illustrated  above  and  to  the 
right  requires  a building  lot  of  considerable 
width.  The  shingled  walls  are  painted  light 
gray,  the  trimming  white,  and  the  shingled  roof 
is  green,  while  blue-red  brick  is  used  for  the 
porch  floors,  chimneys  and  front  walk.  Interior 
woodwork  is  of  pine  throughout,  which  in  the 
living  room  and  dining  room  is  finished  in  soft 
gray  enamel,  and  elsewhere  is  in  white  paint 
and  enamel.  Hardwood  floors  are  found  in  all 
principal  rooms.  E.  W.  Stillwell,  architect 


Designed  for  a corner  lot,  the  Colonial  bunga- 
low illustrated  below  and  to  the  left  presents 
an  exceptionally  pleasing  appearance  to  both  the 
front  and  the  side  street.  Gable  cornice  effects, 
rose  ladders,  and  French  windows,  with  grille 
work  simulating  miniature  balconies  beneath 
them,  comprise  interesting  details.  The  exterior 
walls  are  of  narrow  siding,  which,  including 
the  trimming  timbers,  are  painted  white,  while 
the  shingled  roof  is  painted  green.  The  front 
entrance  is  floored  with  white  cement 


CALIFORNIA 

BUNGALOWS 


Livable  Small  Homes 
of  Good  Architecture 


Book  of  Houses 


45 


'A 


In  that  it  has  a com- 
paratively flat  roof 
with  wide  overhangs 
and  somewhat  simu- 
lates the  rambling  ap- 
pearance, the  house 
shown  above  and  to  the 
right  quite  readily  sug- 
gests the  type  of  bun- 
galow so  popular  in 
California  some  years 
ago.  Save  for  its  shin- 
gled roof,  which  is 
grayish-green,  and  the 
brick  chimney  on  one 
side,  the  exterior  is  of 
pure  white,  producing  a 
color  scheme  that  is 
charmingly  enhanced 
by  the  liberal  use  of 
garden  greenery.  Floyd 
A.  Dernier,  architect 


The  Colonial  bungalow  so  popular  in  Cali- 
fornia is  charmingly  typified  in  the  little 
home  shown  above  and  to  the  right.  With 
its  well-balanced  structural  lines,  its  sweep- 
ing terrace,  its  Colonial  entrance,  and  its 
two  pairs  of  French  windows,  with  a neat 
little  rose  ladder  at  each  side  of  them,  this 
bungalow  presents  an  atltractive  front  ap- 
pearance. The  walls  are  painted  white,  the 
shingled  roof  grayish  green,  and  the  fro7it 
terrace  is  edged  with  blue-red  brick,  while 
the  flooring  of  the  terrace  is  gray  cemetit. 

Floyd  .4.  Dernier,  architect 


IN  OLD  and  NEW 
DESIGNS 

Their  Plans  and 
Interior  Treatments 


46 


House  & Garden’s 


There  is  commendable  compactness 
in  this  little  Dutch  Colonial  design. 
The  irregularity  of  the  roof  gives  it 
interest,  although  adding  slightly  to 
the  expense.  It  is  finished  in  white 
throughout.  The  exterior  is  wood 
shingles.  On  both  floors  the  design 
is  simple  and  livable.  Kenneth  W. 

Dalzell,  architect 


TWO  LIVABLE 
SMALL  HOUSES  for 
the  COUNTRY  or 
SUBURBS 


The  little  white  shingled 
bungalow  demonstrates  the 
fact  that,  with  careftd 
treatment,  the  bungalow 
type  of  house  can  readily 
he  made  attractive  and 
given  an  air  of  perma- 
nence. The  treatment  of 
window  muntons  is  char- 
acteristic of  the  neighbor- 
hood— Illinois.  The  plan 
i-,  open  and  simple,  pro- 
viding sufficient  room  for 
a small  family.  Bliss  De- 
signing Co. 


Book  of  Houses 


47 


The  beauty  of  the  exterior  ties  in  its  well  balanced  proportions  and  in  the  grouping  of  the  windows  and  doors  which,  although 
numerous,  afford  plenty  of  wall  space.  A large  porch  extends  across  the  entire  front.  The  exterior  finish  is  white  plaster;  wood- 
work is  painted  white  and  blinds  are  green.  The  roof  is  stained  dark  gray.  Careful  consideration  has  been  given  to  the  grounds 


While  the  plan  is  original 
the  arrangement  econo- 
mizes on  space  and  is  thor- 
oughly convenient.  The 
stairs  are  tucked  away 
back  of  the  dining  room 
and  in  proximity  to  the 
kitchen,  thus  eliminating 
back  stairs.  The  living 
room  is  house  depth.  This 
room  has  a recessed  win- 
dow at  the  farther  end  and 
a large  fireplace  midway 
of  one  side 


THE  RESIDENCE  of 
JOHN  McWilliams 

Jr.,  Esq. 


PASADENA,  CALIFORNIA 


The  second  floor  accom- 
modation consists  of  three 
bedrooms,  two  sleeping 
porches  and  two  baths. 
The  closets  are  unusually 
large  and  each  has  a win- 
dow. The  owner’s  bedroom 
is  furnished  with  mahog- 
any; old  rose  and  cream 
being  the  color  scheme  of 
the  hangings.  Ivory  enam- 
el woodwork.  A sleeping 
porch  connects  with  this 
room 


Interest  is  given  the  porch 
by  the  manner  in  which 
the  columns  are  spaced  and 
grouped.  The  ends  of  the 
porch  are  roofed  in,  with 
an  open  space  at  the  center 
where  only  the  pergola 
beams  filter  the  light  to 
the  dining  room 


Reginald  D.  Johnson,  Architect 


48 


House  & Garden 


S' 


Colonial  characteristics  adapt  them- 
selves readily  to  the  small  house.  In 
this  little  cottage  a Germantown 
hood  marks  the  entrance  and  the 
continued  pent  roof  breaks  the  facade 
pleasantly.  Wide  red  cedar  shingles 
have  been  used  to  cover  the  exterior 
walls.  They  are  laid  11"  to  the 
weather  and  painted  white.  The 
roof  is  of  similar  shingles  stained 
moss  green 


SMALL  COUNTRY 
HOUSES  in  BRICK 
and  SHINGLE 

KENNETH  W.  DALZELL,  Architect 


The  same  general  style  and  plan  is  followed  in 
another  house,  by  the  same  architect.  In  this 
instance  the  plans  show  a larger  kitchen  and 
a back  stairs,  with  a slightly  different  chamber 
arrangement.  The  woodwork  is  white  pine 
throughout . The  dinhig  room  is  wainscoted 
to  the  window  sill  height 


.Advantage  is  taken  of  the  grade  to  place  a 
garage  under  the  sun  room.  The  house  is  ex- 
ecuted in  tapestry  brick  laid  up  in  mortar  and 
with  white  trim.  The  roof  is  of  sea-green 
slate,  the  gutters  and  leaders  are  copper.  Vines 
will  greatly  enhance  the  appearance  of  the 
facade  when  they  have  developed 


The  house  is  built  on  a hillside,  which  affords  space 
for  a billiard  room  under  the  sun  porch.  There  is  no 
third  floor  nor  is  there  any  back  stairway,  but  the 
stairs  are  so  arranged  that  privacy  is  possible  with- 
out waste  space.  The  house  is  fnished  in  oak  down- 
stairs and  white  pine  upstairs 


49 


Book  of  Houses 


A COMMODIOUS  DUTCH  COLONIAL 


HOME 


The  Residence  of  J.  J.  Hamilton,  Fieidston,  New  York 
DWIGHT  JAMES  BAUM,  Architect 


The  plan  has  avoided  the  usual  central 
hall,  the  living-room,  dming-room  and 
porch  opening  up  together^  The  large 
pantry  serves  also  as  servants’  dining- 
room. Interior  trim  is  gumwood;  floors 
of  oak;  two  brick  fireplaces  with  Co- 
lonial mantels.  Walls  are  sand  finished 


While  symmetrical,  the  exterior  shows  the  entrance  off  center.  It 
is  accented  by  a hood  and  lattice  sides.  The  south  wing  fornix 
a large  porch  while  the  north  gives  a liberal  she  garage.  Walls 
are  cased  in  12"  wide  red  cedar  siding  painted  white  with  color 
relief  in  the  blinds,  which  are  an  unusual  shade  of  green.  Thz 
chimneys  are  of  rough  red  brick — “black  headers” — overburned 
brick  that  was  discolored  and  twisted  in  the  kilns 


The  second  story  reverts  to  the  central 
hall  type  with  four  master’s  rooms  and 
two  baths.  The  owner’s  and  child’s 
room  open  into  a large  sleeping  porch. 
The  maid’s  room  and  hath  connect  with 
the  kitchen  by  a private  stairway.  All 
of  the  woodivork  is  in  white  enamel 


50 


House  & Garden’s 


The  residence  of  R.  Eickolmeyer, 
Esq.,  Tarry  town,  N.  V.,  has  the 
touch  of  formality  demanded  by 
brick  and  slate,  relieved  by  white 
trim,  blinds  and  keystones.  Dwight 
J . Baum,  architect 


H 


The  living  room  faces  the  street,  awarding  a 
degree  of  privacy  to  the  porch.  The  garage  is 
well  incorporated  in  the  wing.  Three  baths 
and  six  rooms  are  above 


imimm 


I® 


13X15 


TWO  SMALL  HOUSES /rom 
EAST  and  WEST 


A complete  eight-room  Dutch  Colonial  house  for  a 
double  end  lot  is  that  of  O.  M.  Carrick,  Esq.,  at  In- 
terlaken, near  Seattle,  Washington.  The  walls  are 
shingled.  Designed  bv  N.  E.  Coles 


1 

p — n 

PLISS'C- 

t-l 

S O 

- 

— kOO  M 

LIVING  irooM 
t4 


J-f; 


m(  .iBi^  »L  ,ii  ' 

, LLA 


« >7 


Oak  floors  are  hi  the 
main  rooms,  polished 
fir  in  others;  tile  in 
bathroom . The  interior 
woodwork  is  old  ivory 
throughout 


Book  of  Houses 


51 


The  first  floor  plan  of  the  clap- 
board cottage  has  just  enough 
rooms  for  a small  family  to  live 
in  and  be  comfortable 


F 

Ji\\ 



i :r 

Lc/\/W 

Upstairs  there  are  three  bed- 
rooms, a bath  and  a sleeping 
porch.  Each  room  is  well  pro- 
portioned and  well  lighted 


The  clapboard  house  has  livable 
possibilities  and  will,  with  foun- 
dation shrubbery,  present  a fine- 
ly finished  appearance.  Ken- 
neth L.  Dalzell  was  the  architect 


Q 1 

I 

[ 1 — ^ 1 

li  U 1 1 » H / 

' H 

PrFBF 

]pX'  K 

■ 

\ M n t t 1 1 n ^ 

UUUt  1 

L:i 

A COTTAGE  and  A LESSER 
COUNTRY  HOUSE 

Livable  Designs  in  Clapboard 
and  Stucco 


Built  on  Colonial  lines  with 
modern  adaptations,  this  subur- 
ban home  furnishes  all  the  nec- 
essary comforts.  Veranda  and 
sleeping  porch  add  to  the  floor 
size.  W.  T.  M archant,  architect 


Two  baths  and  four  chambers 
on  the  second  floor,  with  sev- 
eral more  in  the  third,  make 
this  residence  possible  for  a 
growing  family 


52 


House  & Garden’s 


The  architectural  design  was  inspbed  by  an  old  cottage  in 
Surrey.  A study  of  the  general  lines  and  details  shows  how 
successfully  this  inspiration  has  been  worked  out.  The  roo] 
lines  have  an  interesting  ajid  harmonious  pitch.  Rough, 
variegated  slates  laid  in  a random  fashion  give  color  to  the 
roof.  To  the  rich  texture  of  the  walls  is  added  the  interest 
of  an  occasional  advanced  header.  Casement  windows 
enhance  the  effect  of  cosiness  and  complete  the  picture 


A COTTAGE 

on  the  ESTATE  of  GEORGE  ARENTS,  Jr.  Esq. 

RYE,  NEW  YORK 

LEWIS  COLT  ALBRO,  Architect 


The  entrance  is  a composition  in 
itself.  Eaves  swing  down  low,  with 
a pent  roof  covering  the  door  and  the 
windows.  A broad  breasted  chimney 
intervenes,  capped  with  decorative 
brick  tops  and  chimney  pots.  The 
entrance  is  flanked  by  fine  old  box. 
The  path  is  of  broken  flagstones 


The  plan  illustrates  a cottage  built 
primarily  for  farmhouse  life,  with  a 
combination  kitchen  and  living  room. 
Four  bedrooms  and  a large  bath  are 
on  the  second  floor.  It  is  a plan  that 
can  readily  be  adapted  to  small  fam- 
ily use.  The  space  is  sensibly  di- 
vided and  the  dining  room  eliminated 


55 


Book  of  Houses 


THE  HOME  0/  F.  O.  ZENKE, 

FIELDSTON,  N.  Y. 


DWIGHT  J.  BAUM,  Architect 


Esq . 


Brick  and  stucco  have 
effectively  been  com- 
bined in  the  architec- 
tural composition  of 
the  entrance 


One  side  of  the  first 
floor  is  given  to  ser- 
vice and  garage  and 
the  other  to  living 
and  dining  rooms 


The  unusual  arrange- 
ment of  the  plan  gives 
interest  and  a maxi- 
mum of  comfort  on 
the  second  floor 


Modern  structural  de- 
vices give  the  house  a 
feeling  of  age  suitable 
to  the  English  type  of 
architecture 


54 


House  & Garden’s 


A BOW  DUTCH 
COUNTRY  HOUSE 


Designed  for  House  y Garden  by 

AYMAR  EMBURY,  IT. 


The  long  sweep  of  the  roof  is  car- 
ried down  to  form  a rear  porch.  A 
Colonial  entrance  dignifies  this  piazza. 
Balanced  windows  and  settles  at 
either  end  give  a nice  symmetry.  The 
service  wing  is  complete  in  itself. 
A trellised  porch  is  at  the  other  end 


The  lower  floor  has  a house 
depth  living-room  and  a 
dining-room,  both  up  two 
steps  from  the  entrance. 
The  study  and  a pantry 
fill  the  end  with  kitchen  in 
the  wing.  Upstairs  pro- 
vision is  made  for  three 
bedrooms  and  two  baths, 
with  plenty  of  closet  room 
and  cross  ventilation  pro- 
vided 


On  the  front  a long  bow 
window , extending  the 
height  of  the  second  story, 
is  the  unusual  departure 
from  the  Colonial  design 
which  distinguishes  the 
lionise.  It  affords  a light 
hall  which  can  serve  as 
sewing  corner.  Plain  panels 
are  used  instead  of  shingles 
on  the  upper  spaces  be- 
neath the  eaves 


Book  of  Houses 


55 


) 


The  style  is  Colonial,  all  architectural 
features  being  omitted  to  obtain  a farm 
cottage  type  of  building.  Wide  clap- 
board walls  are  painted  white,  shutters 
green  and  the  hardware  black 


The  distinction  between  living  and  ser 
vice  quarters  on  the  first  floor  plan  is 
marked.  The  rooms  are  large  but  the 
individuality  of  each  has  been  preserved 
and  the  plan  is  simple  and  livable 


From  the  master  suite  to  the  other  end 
of  the  second  floor  runs  a narrow  hall 
with  bedrooms  and  baths  conveniently 
arranged  along  it.  The  rooms  communi- 
cate easily  and  are  well  ventilated 


THE  RESIDENCE  OF 
HUNTINGTON 
NORTON,  Esq. 
OYSTER  L.  I. 

PEABODY',  WILSON  & BROWN. 
.Architects 


56 


House  & Garden’s 


The  entrance  owes  much  of  its  charm  to 
architectural  restraint — to  the  things  the 
architect  refrained  from  doing  to  it.  It 
is  tucked  away  behind  the  kitchen  ell, 
a broad  doorway  with  a deep  portico, 
overhead  exposed  beams  and  a narrow 
light  ofi  either  side 


AN  ARCHITECTURAL 
EPIGRAM  IN  AN 
ENGLISH  COTTAGE 


BI.OODGOOD  lUTTLE, 
Architect 


The  plan  is  as  unusual  as  the  exterior. 
Kitchen  and  service  entrances  are  near- 
est the  road,  leaving  the  rear  of  the 
house  free  for  access  to  the  garden.  Bed- 
rooms are  compactly  placed 


Instead  of  accepting  tht  commonplace 
criticism  that  “all  small  houses  are 
alike,  excepting  that  some  are  worse 
than  others",  the  architect  has  said  that 
some  may  be  better  than  others.  It  is 
an  English  cottage  frankly  developed 
for  an  American  suburb,  with  rough 
plaster  walls,  shingles  laid  in  the  form 
of  thatch  and  leaded  casement  windows 


The  driveway  gate  leading  to  the  garage 
is  so  designed  that  it  is  not  only  a na- 
tural part  of  the  house,  but  an  interest- 
ing architectural  story  by  itself.  The 
gates,  the  grill  panel  lighting  the  long 
narrow  kitchen  and  the  carrying  over  of 
the  thatch  shingled  roof  supported  by  a 
rough  plastered  pillar  on  this  side  make 
an  unusually  picturesque  and  complete 
composition 


Book  of  Houses 


5 


VWiOF 


Architecturally  the  house  follows  no 
distinctive  type,  save  that  it  is 
American  and  has  adapted  the  use- 
ful points  of  many  styles.  The 
structure  is  wide  clapboard  painted 
white,  with  green  shutters  and  a 
green  shingled  roof 


A SMALL  CLAPBOARD 
SUBURBAN  HOUSE 

WILLIAM  T.  MARCHANT 

Architect 


The  plan  is  informal,  provid- 
ing space  for  a hall  with  liv- 
ing room  on  one  side  and  din- 
ing room  beyond;  den,  stairs 
and  kitchen  on  the  other  side. 
The  veranda  off  the  living 
room  gives  a touch  of  privacy 
not  found  on  the  front  porch 


On  the  second  floor  there  are 
one  large  chamber  with  a fire- 
place, three  smaller  ones,  two 
baths  and  a sleeping  porch. 
Large  closet  space  is  evident, 
as  is  the  opportunity  for  light 
and  ventilation.  It  is  a com- 
pact arrangement  for  a small 
family,  convenient,  comfort- 
able and  unostentatious 


58 


House  & Garden’s 


The  house  is  located  on  a slightly  elevated  plateau  commanding  a view  of 
the  distant  Hackensack  valley.  This  rear  porch  is  enclosed,  offering  pro- 
tection from  the  western  storms,  but  is  open  in  summer.  The  rich  play  of 
lights  and  shades  in  the  dressed  stone  and  the  sweep  of  the  roof  to  shelter 
the  porch  are  among  the  interesting  architectural  features  of  this  view 


.4)1  open  Colonial  fireplace  is 
a feature  of  the  living  room. 
Aged  chestnut  beams  support 
the  ceiling.  Windows  are  set 
in  a deep  recess.  One  end  is 
used  as  a dining  corner 


The  rooms  are  arranged  for 
free  and  informal  living.  En- 
trance is  directly  into  the  liv- 
ing room.  The  dining  room 
has  been  eliminated,  an  end  of 
the  living  room  being  used 


Book  of  Houses 


59 


On  the  upper  floor  the  bedrooms  are  spacious,  with  cross 
ventilation  in  each.  Ample  closet  space  is  provided.  A 
general  bath  is  located  with  easy  access  to  each  chamber 


A DUTCH  COLONIAL 
HOUSE  for  a SMALL 
FAMILY 

FRANK  J.  FORSTER,  Architect 


The  decorations  of 
the  bedrooms  are  in 
keeping  with  the 
character  of  the 
house  — simple  and 
adequate.  This  is  the 
chamber  over  the 
living  room 


The  Dutch  house  lends  itself  to  picturesque  treatment.  The  graceful  curves 
of  the  long,  low-sweeping  roof  form  a pent  roof  for  the  front  and  create  a 
porch  in  the  rear.  The  stone  is  cut,  its  shades  varying  from  bluish  gray  to 
light  sienna.  The  Colonial  details  have  been  carried  out  in  every  respect. 

It  is  the  residence  of  Reginald  Halladay,  Esq.,  at  Demarest,  N.  J. 


60 


House  & Garden’s 


The  RESIDENCE 
o/HOWARD 
CHAPMAN 

Architect 

at  STAMFORD.  CONN. 


The  Colonial  design,  which  in 
its  adaptions  has  become  a 
purely  Amerkafi  product,  has 
been  used  for  this  house.  It  is 
executed  in  brick  laid  in  white 
bond.  The  entrance  is  pro- 
nounced by  a simple  hooded 
porch.  Balance  is  given  the 
plan  by  the  use  of  a conserva- 
tory on  one  end  and  a porch  on 
the  other,  each  having  the  same 
general  character.  Field  stone 
walls  support  the  terraces  and 
mark  the  property  line 


ft 

g 

' III  III' 

ft 

i 

A fireproof  garage  under  the  house  is  of  great  convenience,  and  the 
economy  of  heating  and  construction  more  than  offsets  the  slight 
increase  of  insurance.  The  successful  coinhination  of  brick  and 
field  stone  is  shown  in  this  terrace  view 


Coutant 

The  business  end  of  the  house  has  received  equal  consideration 
with  the  comforts  of  the  family.  Thus,  on  both  floors,  has  been 
provided  a miniature  kitchenette  for  preparing  all  the  food  for  the 
baby.  The  location  of  a reception  room  behind  the  hall  makes 
another  interesting  addition  to  the  comforts.  The  service  quarters 
are  ample  and  conveniently  placed 


Book  of  Houses 


61 


Taken  from  the  lesser  chateaux  of 
France,  this  desigit  is  adapted  for  the 
American  stiburb.  Walls  are  stucco 
over  wire  lath  and  painted  gray. 
Slate  forms  the  roof  and  stone  or 
cement  the  foioidations 


An  end  elevation  shows  the  house 
designed  for  a sloping  lot  which, 
with  excavatio7i,  affords  a basement 
and  a side  entrance.  The  iron  railing 
and  steps  are  at  one  end  of  the 
garden  terrace 


The  entrance  is  simple  in  its  classi- 
cal lines,  dignified  in  its  adorn- 
ment. An  angular  pediment  is 
imposed  over  a rounded  door 


The  success  of  the  house  depends 
upon  the  exactness  of  its  detail. 
The  windows  play  the  decorative 
role  in  the  fagade 


A 


FRENCH  CHATEAU  for 


an  AMERICAN 


SUBURB 


EUGENE  J.  LANG,  Architect 


At  the  rear  of  the  house  stretches  a terrace;  steps  at  either  end  lead 
to  the  garden.  The  dining  room  opens  on  this 


All  the  bedrooms  face  the  rear  and  command  the  garden  view.  The 
floor  accommodates  three  chambers,  three  baths  and  a study 


62 


House  & Garden’s 


(jlillies 


Among  the  interesting  points  of  the  front 
of  the  house  are  the  arched  brick  panels 
of  the  first  story  and  the  wide  overhang 
of  the  eaves  creating  a covered  terrace. 
The  design  i:  Dutch  Colonial  of  the  gam- 
brel roof  type 


On  one  end  is  a large  living  room  with 
fireplace,  opeyiing  on  a screened  piazza, 
and  on  the  other  end  the  dining  room 
with  a door  leading  to  the  garden,  and 
the  pantry.  The  kitchen  is  sizeable  and 
well  placed 


Upstairs  are  three  bedrooms  and  a bath, 
sufficient  room  for  a small  family. 
Economy  in  hall  space  affords  ample 
room  for  plenty  of  closets.  Overhang- 
ing eaves  protect  the  lower  windows  in 
front  anil  rear 


MR.  GEORGE  RULE’S 
HOME  AT 

GREAT  NECK,  I..  I. 


AYMAR  EMBURY  If.  .Inhitect 


63 


Book  of  Houses 


In  the  constr2iction  of  the  William  Wiese  residence  at  Scarsdale,  N.  Y.,  stone, 
tile,  half  timber  and  stucco  are  successfxdly  combined.  Roof  lines  come  close 
to  the  ground,  thereby  producing  a broad,  loiv  and  hospitable  front 


LI6R>MLT 


DININO  K.OOM 


On  one  side  the  great  hall,  a room  of  baronial  proportions,  is  a dining  room 
finished  in  old  ivory  Georgian  paneling;  on  the  other,  the  library  with  its 
pointed  windows  and  vaulted  ceiling 


CH»vN\BEI^ 


■1  hooded  entrance,  characteristic  of  this  type  of  archi- 
tecture, gives  an  air  of  hospitalit y and  makes  a fitting 
passage  to  the  great  hall  which  lies  directly  behind 


HOUSE  in  the 


SUBURBS 


The  second  floor  accommodates  two  bedrooms  en  .suite  and  two  other  cham- 
bers with  their  respective  closets  of  good  size.  The  master  suite  of  bath,  cham- 
ber and  sleeping  porch  is  an  excellently  arranged  feature  W SI'AXWOOD  PHILLIPS.  .Irchitect 


64 


House  & Garden’s 


1 doorway  arrangement,  common  to  certain  types  of  Co- 
lonial houses,  lia\  been  reproduced  here.  It  ;'s  a six  panel 
door  K'ilh  side  light',  set  in  a frame  of  dignified  moldings. 
The  overhang  gives  protection  to  this  entrance 


In  this  little  country  house  the  gambrel  roof  design  is  developed  along  simple  but 
permanent  lines.  The  lower  floor  is  stucco,  the  ends  of  the  second  and  the 
dormers  are  shingle  and  the  roof  slate,  giving  a variety  of  harmonious  textures, 
with  plenty  of  light  and  shade.  The  foundation  planting  is  good 


NClO^£ 


TOH 


roROH 


u 


A GAMBREL  ROOF  HOUSE 

Home  cjf  ir.  P.  Beo'selU  Psq.,  Forest  Hills,  L.  I. 
AYMAR  KMHUin’  H,  .Inhiicct 


The  simplicity  which  characterizes  the  exterior  is  evident  in  the  room  arrange- 
ment. On  the  first  floor  is  a house-depth  living  room,  with  its  porch,  a vestibule 
hall  and  lavatory,  a small  dining  room  ivith  pantry  behind  and  a kitchen  in  a 
separate  wing.  Upstairs  three  chambers,  three  baths  and  a maid's  room  afford 
sufficient  space  for  a small  family.  Closet  accommodation  is  sufficient  and  all 
rooms  are  well  ventilated  and  lighted 


Book  of  Houses 


^5^ 


-fzooA,  -/Uji-  :■ ' 


-^TJL  JJ-  fi  OOA,  - // 


A SUBURBAN  HOME  in  the  ITALIAN  MANNER 


From  the  Italian  villa  was  taken  inspiration  jor 
this  suburban  home.  It  is  oj  cream  colored  stucco 
on  frame  construction,  with  a tin  roof  painted  red. 
The  iron  work  is  black  and  shutters  and  entrance  are 
painted  Italian  blue.  A fence  screens  the  service  yard. 


The  loggia  is  to  be  floored  with  red  tile;  other  floors 
are  stained  dark.  Woodwork  is  to  be  painted  and 
enameled.  Adequate  wall  space  in  all  rooms  offers 
possibilities  for  the  arrangement  of  furniture.  De- 
signed for  House  &r  Garden  by  William  R.  Bajuri 


66 


House  & Garden’s 


A STANDARD  for  ARCHITECTURAL  DETAIL 


You  may  have  often  •wondered  why  you  like  one 
arrhileclural  glimpse  more  than  another.  Nine 
times  out  of  ten  the  one  you  like  is  a combination 
of  many  elements  put  together  with  such  studied 
artistry  that  none  could  be  detracted  or  added. 
The  elements  of  this  garden  front  entrance — it  is 
the  residence  of  M.  C.  Migel,  Esq.,  at  Monroe. 


New  York — are  hard  burnt,  red,  irregular  bricks 
laid  with  a slightly  struck  white  joint  and  in 
Flemish  bond;  key-block,  skew  backs  and  sill  of 
W'hile  marble:  and  the  detail  of  the  door  itself  in 
white  painted  wood.  The  shuttered  window  above, 
the  brick  path  below  and  the  specimen  cedars 
frame  the  picture.  Lewis  Colt  Albro,  the  architect 


Book  of  Houses 


67 


The  half  timber  and  roof  lines  proclaim  its  ar- 
chitecture English  cottage.  Casement  windows, 
a hooded  entrance  portico  and  porches  at  each 
end  make  a pleasing  design 


The  living  room,  which  opens  on  the  screened 
porch,  has  a generous  fireplace,  timbered  walls 
and  ceiling  and  wide  French  doors.  The  plan  is 
open  and  livable 


A break  in  the  roof  lines  to  accom- 
modate the  tipper  casements  fol- 
lows cottage  precedent 


A LIVABLE 

SUBURBAN  HOME 

TOOKER  & M,\RSH 

Archilei  i ' 


68 


House  & Garden’s 


The  architecture 
is  an  adaptation 
of  Colonial  jarni- 
house  designs 
dignified  and 
modernized  by  a 
balcotiy  over  the 
entrance  with  a 
wrought  iron 
balustrade.  The 
long,  low  lines  of 
the  porch  are  in 
harmony  with 
the  general  de- 
sign of  the  house, 
inviting  summer 
outdoor  living 


Upstairs  the 
rooms  are  so  dis- 
posed as  to  af- 
ford light  and 
cross  ventilation 
for  all.  The  own- 
er’s suite  con- 
tains bedroom, 
boudoir  and 
bath.  A guest 
suite  occupies 
the  remainder  of 
the  front  of  the 
house,  with 
maid’s  room  and 
another  guest 
chamber  behind 


THE  RESIDENCE  of 
ROBERT  HASKINS, 
Esq. 


RICHMOND,  VIRGINIA 


W.  DUNCAN  LEE,  Architect 


The  house  is 
built  around  a 
terrace  set  be- 
tween the  ell  of 
the  service  quar- 
ters and  the  sun 
room.  A house- 
depth  hall  di- 
vides the  down- 
stairs rooms, 
giving  a large 
living  room, 
which  is  further 
enlarged  by  a 
porch.  Dining 
r o o m,  kitchen 
and  pantry  are 
on  the  other  side, 
running  back  in- 
to the  ell 


A n interesting 
study  in  roof 
lines  is  presented 
by  the  rear  ele- 
vation. Although 
they  are  broken, 
all  are  harmoni- 
ous to  one  pitch. 
The  irregular 
fenestration  and 
the  use  of  lattice 
and  window 
boxes  give  this 
intimate  side  of 
the  house  a 
charm  that  will 
be  made  com- 
plete when  the 
garden  is  fully 
developed 


6^ 


I 

Book  of  Houses 


SCARSDALE,  N.  Y. 


The 

RESIDENCE 

of 

F.  I.  KENT,  Esq. 


PATTERSON  y DULA,  Architects 


The  walls  are  rubble  with 
a heavy  coating  of  white- 
wash, a combination  that 
gives  interesting  light  and 
shade  effects 


In  this  inner  court  white 
walls  form  a clear  back- 
ground for  the  foundation 
blanting  and  pronounce  the 
window  openings 


Broken  and  repeated  roof  lines  give  the  house  unusual  architectural  interest.  These 
together  with  the  grouping  of  windows  and  the  arched  gate  and  door,  and  the  oriel 
up  under  the  eaves  of  the  ell,  produce  a pleasing  facade  fidl  of  contrasts  and  rich 

in  texture 


An  arched 
service  gate 
with  a pent 
roof  breaks 
n 


70 


House  & Garden’s 


THE  SUNLIGHT  MAKES  IT  SO 


You  rant  blame  men  for  worshipping  the  sun.  Such  a 
human  old  god  he  is!  lie  moves  across  the  paved  terrace 
and  warms  the  slates.  He  lifts  up  the  heads  of  geraniums 
standing  primly  in  a row  beneath  the  window.  Ilis  fingers 
feel  out  the  crannies  of  the  rough  wall  and  emblazon  the 
window  panes.  At  his  call  casements  fling  open,  and  men 
and  women  and  little  children  come  out  to  sit  at  breakfast 


in  the  sun-washed  alcove  that  overlooks  the  garden.  Now 
you  can,  if  you  see  nothing  more  in  it,  call  this  the  rear 
terrace  of  Mr.  George  Marshall  Allen's  house  at  Convent, 
N.  J.  And  you  can  say  that  Charles  1.  Berg,  who  designed 
it,  has  created  a fine  bit  of  architecture,  that  the  texture  of 
the  wall  is  extraordinary,  etc.,  etc.  But  it’s  more  than 
just  architecture — and  the  sunlight  makes  it  so 


Book  of  Houses 


71 


The  use  of  English  cottage  de- 
tails gives  a livable  atmosphere  to 
this  small  house  design.  Stucco 
and  half-timber  have  been  suc- 
cessfully combined.  The  roof 
lines  and  bay  window  commend 
it  to  the  prospective  builder.  A 
garage  is  built  in  the  house 


One  chimney  suffices  for  this 
house.  It  provides  a fireplace  in 
the  living  room  and  a flue  for  the 
furtiace.  Through  this  rounded 
entrance  door  one  comes  to  a 
vestibule,  with  the  dining  room 
on  one  side  and  a long  living 
room  on  the  other 


The  rooms  are  placed  with  interesting  economy.  Downstairs 
are  the  long  living  room,  dining  room  and  kitchen,  with  the 
garage  and  furnace  room  on  the  same  level.  Upstairs  are 
tu'o  bedrooms  and  a bath — enough  for  a family  of  two 


ENGLISH  COTTAGE  FEELING  IS 
FOUND  IN  THIS  SMALL  HOUSE 
AT  lADLXAH,  KEN'FUCKY 


\V.  K.  (lOKK,  Architect 


72 


House  & Garden 


Bates  & How,  Architects 


THE  RESIDENCE  OF 
HENRY  R.  SWARTLEY,  Jr.,  Esq. 

GREAT  NECK,  L.  I. 


There  may  be  many 
modern  entrances  that 
reflect  the  Colonial 
spirit,  hut  few  do  it  so 
faithfully  and  so  suc- 
cessfully as  this.  The 
iron  balustrade  is  espe- 
cially beautiful 


Although  divided  into 
separate  parts,  the  build- 
ings are  co-ordinated  in- 
to a unit.  The  living- 
room,  hall  and  dining- 
room form  one  division, 
linked  by  the  kitchen 
with  the  garage 


An  upstairs  sitting-room 
is  one  of  the  advantages 
of  the  second  story  plan. 
Bedrooms  are  arranged 
to  command  maximum 
light  and  ventilation. 
Closet  space  is  plentiful 


Arched  French  windows 
on  the  lower  floor  and 
the  pillared  entrance  re- 
lieve the  straight  Colon- 
ial lines.  There  is  nice 
Georgian  balance  in  the 
porches  at  either  end 


Book  of  Houses 


72 


The  HOME  o/F.  M.  SIMPSON, 
Esq.,  At  LITTLE  FALLS,  N.  Y. 


DWIGHT  JAMES 


The  slope  of  the  lot  permitted 
a terraced  garden  with  concrete 
and  lattice  retaining  walls 


English  cottage  feeling  has  been  attained  in  the  design.  It 
has  a nicety  of  balance  in  window  spacing,  porches  and  roof 
lines.  .4  terrace  and  lawns  front  the  house.  Flower  boxes 
and  potted  plants  add  color  to  this  fagade 


At  one  end  of  the  terrace  a lat- 
tice wall  and  arched  gate  have 
been  successfully  used 


74 


House  & Garden’s 


THE  APPROACH 

The  fault  ivith  a great  deal  of  our  domestic 
architecture  is  that  no  sufficient  approach  is 
provided.  Space  is  a requisite  to  an  apprecia- 
tion of  architecture.  The  beauty  of  this  home 
— the  residence  of  C.  F.  T.  Seaverns,  Esq.,  at 


TO  THE  HOUSE 

Hartford,  Ct. — is  greatly  enhanced  by  its  dig- 
nified approach — the  wide  stretch  of  roadway 
and  the  lawn  which  are  before  it.  Goodwin, 
Bullard  & Woolsey  were  the  architects  of  the 
house.  Olmstead  Bros.,  landscape  architects 


Book  of  Houses 


75 


An  adaption  of  an  English 
type  has  been  used  for 
the  home  of  J.  A.  Rock- 
well at  Warren,  Pa.  Walls 
are  soft  cream  stucco  and 
trim  weathered  oak 


STUCCO  AND 

WEATHERED 

OAK 


A.  J.  HODKER,  Architect 


.An  irregular  disposition  of 
the  rooms  gives  interest 
and  a livable  quality  to 
the  first  floor 


The  narrowness  of  the  lot 
required  a long  plan.  This 
gives  plenty  of  light  and 
air  to  the  chambers 


76 


House  & Garden*!' 


In  designing  his  home  at  Elmsford,  N.  Y., 
Mr.  Kahn  made  a delightful  use  of  stone 
as  a relief  to  the  orange  stucco  and  silver 
gray  exposed  chestnut  beams 


E.  J.  KAHN,  Architect 


The  house  is  quite  small.  It  grows  nat- 
urally out  of  its  hillside  plot,  the  stone, 
stucco  and  half-timber  and  the  shingle 
roof  blending  with  the  trees  and  outcrop- 
ping stone 


One  end  of  the  living  room  is  a large  fireplace,  18'  long  and  10'  deep,  The  house  was  built  for  the  children.  They  have  a nursery  in  addition 

with  settles  inside.  Off  the  living  room  is  the  entrance  hall.  There  is  to  their  bedroom.  This  leaves  space  for  the  master’s  chamber  and 

an  ample  kitchen.  The.  dining  room  faces  the  view  dressing  room,  a guest  room,  closets  and  two  baths 


Book  of  Ho  uses 


77 


The  gambrel  roof  type  is  a popular  design  because  it  makes  a roomy  house.  Its  architecture  is  intimate,  informal, 
and  it  suits  most  settings.  In  this  interpretation  a wing,  in  the  style  of  the  main  house,  is  added  at  one  end.  The 
windows  are  grouped  in  a pleasant  fashion,  with  shutters  to  finish  them  and  to  give  a note  of  contrasting  color  to 
the  white  shingled  walls  and  woodwork.  The  entrance  is  pronounced  by  a portico  with  high-back  settles  on  each  side 


A fireplace  nook  finishes  one  end  of 
the  living  room.  The  hall  runs 
through  to  the  back  porch  and  past 
the  stairs  in  the  rear.  Dining  room 
and  kitchen  are  in  close  proximity 
with  a pantry  and  service  entry  at 
one  end 


A GAMBREL  ROOF  TYPE 
IN  WHITE  SHINGLES 

ADDEN  k PARKER 

Architects 


Four  large  sunny  bedrooms  and  twO" 
baths  are  on  the  second  floor.  The 
living  room  chimney  affords  a fire- 
place in  the  upstairs  halls — evidently 
a very  pleasant  detail.  Each  cham- 
ber is  equipped  with  two  conveni- 
ent closets 


iUieOOM  I HUl 


3lDE,00,n 


78 


House  & Garden’s 


The  architecture  is  a cross 
between  English  and  Nor- 
man farmhouse.  It  is 
executed  in  warm  gray 
stucco  laid  ofi  rough,  with 
occasional  sills  of  red  brick 
and  irregular  foioidations 
of  stone  bleeding  off  into 
the  stucco  without  any 
line.  The  roof  is  shingles 
with  five  different  tones 
of  green  and  red.  The 
whole  effect  of  the  house  is 
one  of  soft  tones  and  easy 
contours 


In  one  of  the  wings  half- 
timber construction  is  re- 
vealed through  the  stucco. 
The  beams  are  rough  and 
pegged  together.  Windows 
throughout  the  house  are 
leaded  casements.  The 
acute  angle  of  the  roof,  a 
Norman  feature,  gives  the 
house  an  appearance  of 
great  height.  Wide  eaves 
with  a slight  kick-up  af- 
ford interesting  details  for 
adaptation  to  less  preten- 
tious English  designs 


A recessed  door  with  a pronounced  shelf 
above  it  and  a flagged  pavement  below 
makes  an  unusual  but  simple  entrance 


A NORMAN-ENGLISH 
FARMHOUSE  /orCHARLES 
E.  CHAMBERS,  Esq. 

RIVERDALE,  N.  Y. 


JULIUS  GREGORY,  .hchiuct 


Book  of  Houses 


79 


This  house  is  an  answer  to  the  question  of 
what  type  of  house  one  should  build.  The 
house  should  suit  the  setting.  Viewed  from 
this  point,  the  stone  foundations  are  a 
continuation  of  the  stone  on  the  hillside; 
the  stucco  has  the  rough  surface  of  stubble 
fields;  the  occasional  exposed , timbers  re- 
peat the  exposed  limbs  of  trees 


Of  the  many  interestbig  windows,  the 
bays  are  the  most  pronounced.  They  are 
of  rough  timber  pegged  together  and  have 
leaded  casements.  This  combination  of 
rough  stone,  rough  stucco  and  rough  beams 
maintains  a scale  that  is  necessary  to 
such  types  of  architecture.  More  delicacy 
would  prove  unsuitable 


The  studio 
wing  is  sep- 
arate from  the 
living  quarters. 
The  studios  are 
provided  since 
both  Mr.  and 
Mrs.  Chambers 
are  illustrators 


The  studio 
disposition  o f 
t h e chambers 
adds  to  their 
interest.  Stairs 
and  closets 
have  found  un- 
usual but  prac- 
tical corners 


' Vr’PE'R'.ih'k.s'  orSi'vi>to 


80 


House  & Garden’s 


One  of  the  features  of  the 
home  of  W.  E.  Davis,  Jr., 
at  New  Haven,  Conn.,  is  a 
rear  living  veranda  with 
a sleeping  porch  above. 
These  face  the  garden  and 
the  rose-bowered  pergola. 
The  house  is  red  brick. 
White  marble  trim  and 
white  woodwork  help 
maintain  the  Colonial  as- 
pect of  the  architecture 


A NEW 
ENGLAND 
DESIGN  in 
BRICK 

CHARLES  FREDERICK 
TOWNSEND,  Architect 


Old  ivory  wood  trim  relieves  the  gray 
paneled  walls  in  the  living  room.  The 
curtains  are  old  gold  and  blue  used  with 
gilt  valances.  An  Adam  atmosphere  is 
given  by  the  mantel  and  lighting  fixtures 


The  square  Colonial  plan  has  been  adapted 
to  modern  requirements,  giving  a house- 
depth  living  room,  a small  dining  room 
and  service  in  the  rear  extending  so  that 
it  forms  a corner  for  the  porch 


Three  chambers,  two  baths,  a den,  a com- 
modious glassed-in  sleeping  porch  and 
closets  in  each  room  are  provided  on  the 
second  floor.  The  service  stairs  give 
privacy  to  the  front  of  the  house 


Book  of  Houses 


81 


The  Colonial  aspect  is  found  in  the  lines 
of  the  stairs.  Here  the  walls  have  a 
gray  scettic  paper  and  the  woodwork  is 
old  ivory  save  for  the  mahogany  hand 
rail.  The  rug  is  gray  and  the  stairs 
carpet  plain  rose 


hi  the  guest  room  the  walls 
have  a gray,  small  patterned 
paper,  with  which  the  yellow 
and  pink  hollyhock  design  of 
the  chintz  curtains  contrasts 
pleasantly.  The  furniture  is 
mahogany.  Over  the  dresser  a 
gold  mirror  is  hung  on  gold  silk 
cords.  The  rug  is  one-tone  gray 


A gambrel  roof 
of  slate,  brick 
walls,  pierced 
shutters  on  the 
first  floor  and 
an  entrance 
portico  estab- 
lish the  Colonial 
precedents  o f 
the  architec- 
ture. Vines  and 
foundation 
planting  will 
further  age  the 
house 


The  dining  room 
walls  are  ivory 
paneled,  the  rug 
sapphire  blue,  and 
the  hangings  gold 
and  silver  shot  taf- 
feta with  dull  gilt 
cornice  boards. 
The  built-in  china 
cupboard  is  bal- 
anced by  a recessed 
door 


82 


House  & Garden’s 


The  first  fioor  plan  shows  a livable  dis- 
position of  rooms.  The  entrance  is  on 
the  side.  Although  open,  the  plan  pro- 
vides interesting  details,  such  as  the  liv- 
ing room  fireplace  corner,  a tiled  porch 
and  the  compact  service  quarters 


Upstairs  there  are  two  master  bedrooms 
and  two  smaller  chambers,  a bath  and 
a toilet,  and  a sewing  room.  The  stairs 
are  kept  to  one  corner  and  do  not  en- 
croach on  the  hall  space.  Each  room 
has  its  commodious  closet 


The  home  of  W.  W.  Nichols,  Esq.,  at 
Rochester,  N.  Y.,  is  a typical  American 
suburb  type  of  architecture  showing  in- 
fluences of  English  cottage  design.  It  is 
executed  in  stucco,  with  half-timber  in 
the  hall  and  living  rooms 


Viewed  from  the  garden  the  house  shows 
picturesque  overhanging  eaves,  a solid 
chimney  stack,  window  boxes  in  the 
porch  roof  off  the  master  bedroom,  and 
the  porch,  which  is  a continuation  of 
the  half-timber  bay  of  the  living  room 


A LIVABLE 
HOUSE  i 11 
ROCHESTER, 

N.  Y. 

C'LKMKNIR.NKWKIKK 

.Irchifcct 

WIU.IAM  PITKIN,  Jr., 

I.andsca pe  .Irchiuc! 


Book  of  Houses 


83 


On  the  basis  of  a 
nondescript  1880 
house,  the  architects 
managed  to  give  the 
finished  structure  a 
pleasant  form  in 
which  the  Colonial 
aspect  is  preserved. 
The  study  and 
porch  wing  has  a 
Southern  Colonial 
aspect.  C olonial  feel- 
ing is  also  found  in 
the  breakfast  porch 


THE  HOME 
OF  LOUIS  J. 
S N Y D E R , 
RYE,  N.  Y. 

AYM.AR  EMBURY  II 
R LEWIS  E.  WELSH. 

\Jssociate  Architects 


There  is  really  a 
great  deal  of  room 
in  the  house — a big 
study  flanked  by  a 
porch,  house-depth 
living  room  and 
hall,  a small  dining 
room  with  a large 
breakfast  porch  and 
a service  wing  af- 
fording plenty  of 
space  for  kitchen, 
pantries,  laundry 
and  servants’  rooms 


The  closets  practi- 
cally filling  the  front 
of  the  hall  are  ar- 
ranged with  a nice 
economy  of  space. 
To  the  four  original 
chambers  have  been 
added  those  in  the 
two  wings — marked 
with  black — an  ex- 
tra bedroom  at  one 
end  and  three  maids' 
rooms  and  a bath 
in  the  other 


84 


House  & Garden’s 


M 


■ 

V 


The  house  is  javored  by  a charming  location — the  brow  of 
a hill  commanding  a view  across  a wide  valley.  Tall  trees 
shade  the  site.  Heavy,  hand-split  cypress  shingles  painted 
white  cover  the  walls 


1 

kW 

■ v| 

A Colonial  at- 

A 

IS 

m 0 s p h e r e is 
maintained  in- 

1  ;l 

side  the  house. 
On  the  landing — 

IN 

usually  a bleak 
spot — are  built- 
in  bookshelves 


A COLONIAL  PLAN 
IN  WHITE  SHINGLES 


The  difference  in  levels  adds  to  the  interest  of  the  house.  At 
one  end  is  a living  room.  The  porch  has  a brick  border  with  a 
field  of  random,  broken  tile — the  wastage  from  a floor  job.  The 
dining  room  is  set  in  the  rear  of  the  house  to  catch  the  view. 
,4  small  kitchen  and  its  closets  and  porch  complete  this  floor 


Book  of  Houses 


85 


By  keeping  the  stairs  and  hall  down  to  a minimum  there  ha.-, 
been  found  room  upstairs  for  four  chambers,  a bath  and  a work- 
room, and,  in  addition,  closets  tucked  away  under  the  eaves  and 
in  odd  corners.  The  master’s  bedroom  is  dignified  by  a fireplace. 

It  is  a house  commodious  enough  for  a small  family 


From  the  rear  is  another  view  of  the  valley.  Here  is  the 
dining  room  and  the  porch,  with  its  lattice  panels.  This  is 
glassed  in  winter.  The  dormers  upstairs  are  joined  together 
by  two  other  windows,  giving  more  space  in  the  chambers 


HOME  OF  CHARLES 
C.  MAY,  ARCHITECT 


7'he  chimney , 
which  was  given 
one  coat  of  paint, 
has  been  per- 
mitted to  weath- 
er into  a nice 
gradation  of 
tones 


5cd  *2. 


Sad 

lO-o'x 


86 


House  & Garden’s 


The  architecture  of  old 
California,  adapted  to 
meet  modern  needs,  fits 
into  the  hillside  setting 
naturally.  The  low  angle 
of  the  roofs  is  a char- 
acteristic feature,  as  are 
the  doors  and  the  heavy- 
barred  grill  which  is  set 
in  the  wall 


The  mam  rooms  of  the 
house  are  built  around 
two  sides  of  this  court, 
the  rest  of  the  space 
being  taken  by  the  ser- 
vice quarters.  So  it  is  a 
small  house,  very  com- 
pact in  its  arrangement, 
quite  unusual  and  yet 
livable 


Behind  the  grill  lies  this 
paved  court  or  patio 
with  a wide  door  open- 
ing into  the  living  room 
on  one  side  and  another 
to  the  dining  room.  The 
windows  of  the  master’s 
bedroom  open  on  a bal- 
cony with  wooden  bal- 
usters 


Three  bedrooms  and 
two  baths  occupy  most 
of  the  second  floor. 
Stairs,  upper  stair  hall 
and  passage  are  kept  at 
a minimum  of  size.  A 
storage  room  takes  the 
place  of  the  usual  attic 
and  is  far  more  con- 
venient 


Book  of  Houses 


87 


THE  HOME  OF 
E . C . THIERS 


The  side  of  the  house  shows  a pleasing  variation  of  windows — a 
balcony  window  from  the  main  chamber,  another  balcony  from  the 
tall  arched  windows  on  the  stairs  landing  and  one  chamber  window 
tucked  up  under  the  eaves.  The  chimney  is  btiilt  solid  and  deep, 
giving  a shadow  to  the  ivall 


PASADENA,  CALIFORNIA 


REGINALD  D.  JOHNSON, 

Architect 


Along  the  dining  room  side,  entrance  is 
gained  by  an  arched  gateway  m the 
patio  wall,  which  is  here  pierced  by  another 
grill  and  decorated  with  a fountain 


The  garden  is  built  in  two  levels  and  sur- 
rounded by  a low  stucco  wall.  The  small 
window  this  side  of  the  entrance  lights  the 
coat  closet  off  the  entrance  hall 


House  & Garden’s 


A SMALL  COLONIAL 
COUNTRY  HOUSE 

MORRIS  & ERSKINE, 

Architects 


Various  elements  of  Pennsylva-nia  Colonial 
style  have  been  incorporated  in  this  home 
of  William  S.  Ellis,  Esq.,  Moylan,  Pa. — 
the  wide  eaves,  the  Germantown  hood 
with  settles  pronouncing  the  entrance,  the 
large  chimney  stacks  and  the  small  pane 
sash 


The  Colonial  architecture  has  come 
through  the  walls,  as  witness  this  hall 
glimpse  of  simple  stairs  with  mahogany 
rail  and  treads  and  newel.  Simplicity 
characterizes  the  house  throughout.  The 
woodwork  is  white,  the  floors  dark  stain 
and  oiled 


On  the  garden  side  a porch  extends  the  width  of  the  house,  the  living  and  dining  rooms 
opening  on  it.  Service  is  compactly  placed  in  an  extension  toward  the  drying  yard 


Four  chambers,  two  baths,  ample  closets,  a simple 
hall  and  plenty  of  light  are  on  the  second  floor 


Book  of  Houses 


89 


The  grounds  are  kept  as  simple  as  pos- 
sible, with  lawns  broken  here  and  there 
with  colorjid  plantings.  An  interesting 
gate  gives  entrance  to  a lower  level 


While  the  house  cannot 
claim  any  especial  period, 
it  is  reminiscent  of  a minor 
French  chateau  simplified 
to  an  American  country 
setting.  The  walls  are 
deep  cream  stucco  on  hol- 
low tile  with  a roof  of 
irregular  blue  slates.  The 
garage  is  connected  with 
the  house 


A SIMPLE  DESIGN 
IN  STUCCO— THE 
HOME  OE  E.  E. 
BARTLETT,  Esq. 

AMAGANSETT,  L.  I. 

W.  LAWRENCE  BOTTOMLEY 
Architect 


Along  the  front  of  the  house  is  a stone  flagged  terrace 
bordered  with  low  boxwood.  This  runs  to  the  end  of 
the  main  structure.  Beyond  are  the  service  wing  and  the 
garage.  Vines  and  potted  plants  will  enrich  the  facade 


90 


House  & Garden’s 


A writing  table  is  set  before  casement  windows  that  open 
on  the  bird  garden — a garden  enclosed  by  high  walls  over 
which  trails  the  wild  grape,  and  flanked  with  berried 
shrubs.  Midway  is  a bird  fountain 


A REST  HOUSE  AND  BIRD 
GARDEN  ON  THE  ESTATE 
OF  MRS.  PAYNE  WHITNEY, 

MANHASSET,  L.  I. 

J.  H.  PHILLIPS,  Architect 
Decorations  by  Karl  Freund 


When  Mrs.  Whitney  asked  her  architect 
to  design  a little  rest  house  in  the  woods, 
she  had  in  mind  a witch’s  cottage,  such 
as  one  sees  in  fairy  tale  books.  The  love- 
ly old  oak  paneled  room,  imported  from 
England  by  Karl  Freund,  was  enclosed 
with  masonry  walls;  the  lower  story  stuc- 
co; above,  brick  and  oak  half -timber 
work,  taken  from  old  barns  on  Long 
Island.  The  roof  is  old  English  slate  of 
varied  sizes  and  colors — purple,  green  ami 
gray — laid  with  wide  joints  and  raked  to 
allow  the  moss  to  grow 


The  room,  views  of  which  are  shown  here 
and  opposite,  has  a dark  oak  wainscot. 
The  mantel  is  composed  of  simple  round 
columns  supporting  a cornice,  and  faced 
with  a carved  Portland  stone  arch.  Win- 
dows are  divisioned  by  straight  mullions. 
The  plaster  ceiling  is  covered  with  medal- 
lions of  Scriptural  subjects  grouped 
around  a sunburst.  Reddish  stones,  rough 
hewn,  comprise  the  floor.  Over  it  is  laid  a 
large  hooked  rug  in  a tessellated  pattern. 
The  room  is  furnished  with  a chosen  col- 
lection nl  \Mh  and  \7th  Century  pieces 


Book  of  Houses 


91 


up  under  the  eaves,  and  reached  by  an  old  plank 
stairway,  is  a little  room  with  rustic  furniture 
and  hooked  rugs.  The  mantel  is  of  Tudor  style. 
Iron  guinea  hens  act  as  fire  dogs 


This  view,  frotn  the  end  of  the  garden,  shows  the 
bird  bath,  fountain  and  stone  walks.  Entrance 
to  the  garden  is  through  a I6th  Century  solid  iron 
door  on  the  chimney  side  of  the  house 


.i  quaint  entrance  was  made  ivith  an  old 
carved  wood  paneled  door  and  stofie 
architrave.  To  make  this  Tudor  door  the 
architect  used  old  stone  fragments  and 
two  stone  heads.  A candle  fixture  set  in 
the  little  window  above  lights  the  door- 
way and  vestibule 


92 


House  & Garden’s 


THE  JOSEPH  E.  BIWSH  HOME,  FIELDSTON,  N.  Y. 


When  possible,  the  house  should  turn  its  hack  to  the 
road.  This  arrangement  affords  a convenient  loca- 
tion for  the  service  quarters  in  close  proximity  to 
the  tradesmen’s  wagons  and  gives  the  owner  the 
privacy  of  a garden  in  the  rear.  It  also  gives  a 
garden  facade  in  which  the  real  loveliness  of  the 


house  can  be  shown.  This  was  the  successful  arrange- 
ment used  in  the  residence  of  Joseph  E.  Brush,  Esq., 
at  Fieldston,  N.  Y.  You  are  looking  at  the  garden 
view,  along  the  line  of  the  entrance  and  the  two 
projecting  wings  of  the  house.  Dwight  James  Baum 
was  the  architect  and  arratiged  the  planting 


Book  of  Houses 


93 


The  rear  view  shows 
the  study  with  a sleep- 
ing porch  above,  the 
screened-in  porch  at 
one  side  and  the  kit- 
chen entrance  at  the 
other 


The  garage  is  an  in- 
tegral pari  of  the  house, 
its  windows  being  cur- 
tained to  camouflage  its 
real  purpose.  The 
kitchen  porch  faces  the 
road 


A simple  plan  adds  to  the  livable  quality  of  the  house.  Living  room,  study 
and  porch  on  one  side;  dining  room,  kitchen  and  pantry  on  the  other 


Upstairs  are  flve  chambers,  a sleeping  balcony  and  three  baths,  arranged 
in  suite  with  abundant  closet  space,  cross  ventilation  and  plenty  of  light 


94 


House  & Garden’s 


The  RESIDENCE  of 
ALLAN  LEHMAN, 
Esq. 

TARRYTOWN,  N.  Y. 


JOHN  RUSSELL  POPE, 
Architect 


An  interesting  feature  of  the 
meadow  front  is  the  rather 
original  conception  of  an  oriel 
chimney  carried  on  a project- 
ing corbel  of  stone  moldings. 
A sundial,  set  in  the  upper 
part  of  the  chimney,  has  been 
computed  to  register  hours 
and  quarters  accurately 


Ciillles 


In  the  design  and  execution  of  the  library 
the  architect  has  used  mellow  old  oak  panel- 
ing walls,  originally  in  a Jacobean  residence 
and  readjusted  to  new  conditions,  and  an 
ivory  ceiling  molded  from  original  casts  of 
old  work.  Furniture  by  Schmitt  Brothers 


Brick  and  wood,  stone  and  slate,  stucco  and 
leaded  work  have  been  made  to  produce 
what  the  architect  wished — the  old  world 
charm  possessed  by  such  historic  Tudor 
houses  as  Compton  Wynyates  in  Warwick- 
shire and  Ockwells  Manor  in  Lancashire 


I 

I 


Book  of  Houses 


95 


The  dining  room  is  unusual  in  being  ( 
replica  of  \5th  Century  English  G 
It  is  copied  from  an  old  house  in  S( 
set  and  is  done  entirely  in  antique  ct 
plaster.  The  furniture  is  original  16th 
tury  examples.  Schmitt  Brothers,  deco. 


While  a part  of  both,  the  din- 
ing room  porch  is  a happy 
transition  between  house  and 
terrace.  A sleeping  porch  with 
rows  of  casement  windows  is 
above.  The  tall  windows  lo- 
cate the  great  hall,  which  is 
the  feature  of  the  plan 


The  forecourt  is  a veritable  library  of  Tu- 
dor architecture — a small  entrance  with  low 
pointed  arch,  leaded  casements,  walls  of 
stucco-filled  half-timber,  rough  brick  walls 
with  random  stone  ashler  and  quoins,  stair 
tower,  rough  slate  roof  and  brick  chimneys 


^ /^V'  - ■'  t ‘ 


96 


House  & Garden’s 


THE  RESIDENCE  OF 
COURTLANDT  D.  BARNES,  Esq. 

MANHASSET,  L.  I. 

PEABODY,  WILSON  & BROWN,  Architects 


It  is  called  “Nonesuch  House"  and  the  name  well  fits  it.  The  long, 
low  roof  line  and  the  rambling  character  of  the  plan  fills  you  with  a 
sense  of  old  world  comfort  such  as  you  get  in  some  of  the  beautiful 
English  estates 


A bit  of  the  \?>th  Century,  in  its  most 
distinguished  mood,  is  the  dining  room 
with  the  painted  Chinese  paper.  The 
furniture  is  old  Sheraton 


This  detail  of  the  exterior  shows  the 
uneven  quality  of  the  brick  and  the 
unusual  disposition  of  the  casements 
that  give  the  faqade  character 


Book  of  Houses 


97 


The  living  room  goes 
back  to  the  llth  Cen- 
tury, the  paneling  and 
half  timber  work  hav- 
ing been  removed  from 
a house  of  that  period 
in  East  Anglia.  The 
walls  are  old  plaster 
with  pargeting.  Suit- 
able furniture  was  se- 
lected— some  for  com- 
fort and  one  or  two 
bits  to  carry  out  the 
atmosphere  of  the  peri- 
od. Schmitt  Brothers, 
decorators 


Tebbs 


The  library  carries  out 
the  I8th  Century  spirit. 
A quaint  old  chintz  is 
used  for  slip  covers  on 
t h e comfortable  a r m- 
chairs  and  sofa,  and  at 
the  low  casement  win- 
dows. Other  furniture, 
which  does  not  appear 
in  this  view  of  the 
room,  is  Sheraton. 
Hooked  rugs  of  a gay 
desigii  give  the  needed 
color 


I 


98 


II  0 s e & G a r d e n’  .i 


The  house  is  built  directly  upon  a big  rock  and 
the  vigorous  treatment  of  gray  shingled  walls  and 
green  blinds  harmonizes  well  with  the  rugged 
character  of  the  foreground.  Whiteivashed  chim- 
neys with  red  pots  give  a touch  of  individuality 


The  feature  of  the  parlor  is  the  corner  cupboard, 
filled  with  old  pink  china  which  happily  matches 
the  filmy  hangings  at  the  windows.  Walls  are 
paneled  and  painted  white.  Old  lustres  and  trail- 
ing ivy  make  a charming  decoration 


Book  of  Houses 


99 


A SEASHORE  HOUSE  at 
SOUTH  DARTMOUTH, 
MASS. 


T/ie  views  on  this  page  show  the  opposite 
ends  of  the  living  room.  A fireplace  is  at 
each  end.  The  furniture  is  old  English  oak, 
Dutch  and  American  Colonial,  all  antique. 
The  hangings  are  blue 


Walls  in  the  living  room  are  painted  the 
yellow  of  fresh  butter.  Dado  and  doors  are 
gray.  Upholstery  chintz  has  a black  ground 
with  gay  flowers  and  fruit.  Beams  are 
hand-hewn  and  stained  a deep  brown 


HARRY  B,  RUSSELL,  Architect 


100 


House  & Garden’s 


The  house  stands  on 
land  granted  by  William 
Penn  to  the  owner’s  an- 
cestors in  1714  and  the 
house,  a remarkable 
type  of  Pennsylvatua 
Colonial  farmhouse, 
dates  from  about  the 
same  year.  It  is  the 
residence  of  Major  W. 

McM.  Rutter 


The  six  panel,  double 
door  type  of  entrance 
is  characteristic  of  the 
epoch.  Its  classical  pro- 
portions, delicate  mold- 
ing and  decorative  fan 
light  make  it  a stand- 
ard for  architectural 
reproduction.  Latticed 
icalls  form  a back- 
ground 


(Left)  From  the  gar- 
den one  passes  under 
this  covered  portico 
and  through  the  panel- 
ed door  to  the  dining 
room 


A R E M O I)  E I.  E D 
PENNSYLVANIA 


DI  HRING,  OKIE  cS:  ZIKCl.ER. 
Architects 


Book  of  Houses 


101 


Among  the  in- 
triguing elements 
of  the  Colonial 
house  are  its 
varying  levels 
and  unsuspected 
nooks.  That  in- 
terest is  evident 
in  this  view  of 
the  c hildren’s 
room  w i t h its 
cupboards  and 
little  stairs  lead- 
ing up 


The  spirit  of  the 
old  house  is  suc- 
cessfully repro- 
duced in  this 
kitchen  wing 
where  field  stone 
laid  in  wide 
bond,  white 
painted  trim, 
simple  dormers 
and  deep  door- 
ways are  the  ele- 
ments success- 
fully used 


102 


House  & Garden’s 


.1  remarkable  combi- 
nation of  whitewashed 
brick  walls  and  Span- 
ish tiles  is  found  in 
the  residence  of  Nel- 
son Doubleday,  Esq., 
at  Oyster  Bay,  L.  I. 
The  entrance  vesti- 
bule is  pronounced  by 
an  arch  and  border 
of  exposed  brick, 
flanked  by  tall  cedars. 
The  feeling  of  the 
house  is  Italian,  yet  it 
is  an  Italian  adapted 
successfully  to  an 
.liuerican  country  en- 
vironment 


There  should  be  no 
rear  to  a country 
house.  The  service 
wing  should  be  so 
combined  with  the 
house  that  one  can 
approach  it  from  any 
angle.  This  is  proven 
in  the  residence  of 
George  Bourne,  Esq., 
at  Mill  Creek,  L.  I. 
Garage  and  kitchen 
are  in,  the  southeast 
wing,  which  is  suc- 
cessfully incorporated 
in  the  lines  of  the 
house  and  hidden  by 
the  border  plantings 


FOUR 

COUNTRY 

HOUSES 

By  H.  T.  LINDEBKRC: 

Architect 


Book  of  Houses 


103 


Among  the  interesting  features  of  the  house  of  Henry  Rawle,  Esq., 
at  Morristown,  N.  J is  a glassed  flower  room  leading  to  an  octagonal 
breakfast  room,  also  glassed,  that  looks  out  over  the  stretch  of  lawn 
on  one  side  and  through  the  formal  planting  of  cedars  on  the  other 


Because  it  commands  the  south  view  looking  out  over  the  garden, 
this  facade  of  the  home  of  Laurance  H.  Armour,  Esq.,  at  Lake  Forest, 
III.,  shown  below,  has  large  windows  in  the  living  room,  hall  and 
dining  room.  The  half-timber  extensions  have  sleeping  porches  above 


I 

104  H 0 u s e & G a r d e n ’ s 


1 


A TOUCH  o/  ITALY  in  NEW  YORK 


Given  the  setting,  the  architect  and  the  means,  one  can  recreate 
in  our  American  environment  even  the  most  subtle  spirit  oj 
Italian  architecture.  The  joundation  oj  the  study  here  is  a strip 
of  lawn  and  red  bricked  terrace.  An  arched  loggia  opens  on 
this,  and  above  it  the  end  oj  the  house  wing  covered  in  pink 
plaster  stucco  with  stone  trim  and  wrought  iron  balcony,  and 


roojed  in  red  Spanish  tile.  The  jountain,  the  Italian  marble 
benches,  the  bow  window  and  the  shadows  cast  by  the  broad 
eaves  over  the  ja^ade  have  caught  and  held  the  Italian  jeeling  suc- 
cessjully.  This  glimpse  is  on  the  estate  oj  J.  C.  Baldwin,  Jr., 
Esq.,  at  Mt.  Kisco,  N.  V.  Benjamin  Wistar  Morris  was  the 
architect  oj  the  house.  E.  F.  Sanjord,  scidptor  oj  the  jountain 


Book  of  Houses 


105 


The  scheme  for  this  garage  was  to  house  two  cars  and  afford  living  accom- 
modations for  the  chauffeur.  These  are  treated  as  separate  units,  a fire  wall 
separating  the  living  quarters  from  the  garage  proper.  The  rooms,  which 
are  on  the  first  floor,  include  a bedroom,  bath  and  large  closet.  A window  in 
bath  and  bedroom  provides  light  and  ventilation  and  the  quarters,  although 
compact,  are  sufficient  for  comfort.  In  the  garage  proper  there  is  space  for 
two  cars.  It  is  heated  by  a system  placed  in  the  cellar  and  the  cellar  is 
reached  by  an  outside  stairs.  Provision  has  been  made  for  such  necessary 
equipment  as  patented  trap  for  waste  oil  and  gas,  ivith  a concrete  floor 
pitched  to  drain  to  the  trap.  Electric  lights  and  attachments  are  planned,  a 
gasolene  storage  in  the  cellar  and  a work  bench  at  the  rear.  Beneath  the 
eaves  is  a storage  room.  The  construction  calls  for  stucco  over  holloiv  tile 
and  a slate  roof.  The  view  to  the  left  shows  the  chauffeur’s  rooms 


TWO  SMALL  GARAGES  DESIGNED 
for  HOUSE  & GARDEN 


By  FRANK  J.  FORSTER,  Architect 


In  planning  the  one-car  garage  below  the  architect  removes  it  from  the 
ordinary  class  by  makbig  it  an  architectural  feature  that  will  grace  a small 
property.  It  is  inexpensive,  built  of  clapboard  siding  painted  white.  The 
doors  are  of  batten  construction  and  the  roof  is  shingle  stained  silver  gray. 
The  dip  of  the  ridge  gives  individuality  to  the  roof.  A trellis  to  one  side  adds 
interest  and  is  a small  item  of  expense.  On  the  other  side,  built  in  as  part 
of  the  structure,  is  a small  closet  for  grease,  etc.  There  is  a cement  floor  inside 
and  a work  bench  at  the  rear.  A door  from  the  garage  leads  to  the  space 
behind  the  trellis  where  gasolene  and  other  accessories  as  need  not  be 
covered  can  be  stored.  The  ceiling  of  the  garage  can  he  either  left  unfinished 
or  boarded  over,  in  which  case  storage  room  is  provided  for  extra  accessories. 
Tivo  windows,  one  on  each  side,  afford  sufficient  light  for  working  around 
the  car  during  the  daytime 


106 


House  & Garden's 


GARAGES  OUTSIDE 
and  IN  THE  HOUSE 


o{  Varied  Construction 


A two  car  garage  with  glass  inserts  in  doors  and  plenty  of 
windows.  Most  garages  are  too  dark  for  working  and  the 
rhauffeur  is  hindered.  The  solution  is  plenty  of  windows 


The  garage  attached  to 
the  house  by  a covered 
passage  or  kitchen 
wing  is  an  almost  ideal 
arrangement.  Here  the 
grouping  is  convenient 
Bates  & How,  archi 
tects 


If  built  close  to  the  house  the  garage  should  have  the  same 
general  architectural  treatment.  This  design  has  a wide 
door  and  plenty  of  light.  Beam  ends  support  bird  houses 


The  garage  in  the  house  can  be  an  integral 
part  of  the  foundations  where  different  levels 
exist.  In  this  case  a glassed-in  porch  is  above, 
in  harmony  'with  the  rest  of  the  house 


A combination  of  rubble  stone  walls  and 
slatted  balustrade  makes  an  interesting  treat- 
ment for  the  country  garage.  The  doors  are 
wide,  but  the  'windows  too  small 


Book  of  Houses 


107 


DESIGNS  FOR  ONE, 
TWO  and  THREE  CARS 


Showing  A Range  of  Costs 


Here  the  bank  is  cut  to  give  room  for  a 
garage  which  supports  a porch  above.  Being 
a part  of  the  house  it  requires  no  extra  heat- 
ing plant 


The  high  roof  of  this  two  car  stucco  garage  allows  for  a 
half  story  attic  where  winter  tops  can  be  stored  in  summer 
and  extra  supplies  kept.  A border  planting  would  help 
the  appearance.  IT.  //.  Allen,  architect 


Field  stone  and  white  wood  trim  together  luith  the 
dignified  architectural  design  give  this  garage  a pleasing 
character.  Large  windows  and  doors  provide  the  neces- 
sary light  for  chauffeurs  and  mechanicians.  Taylor  & 
Levi,  architects 


The  garage  as  one  unit 
in  a series  of  attached 
buildings  can  also 
serve  the  purpose  of 
housing  the  heating 
plant,  the  chauffeur 
being  stokesinan  in 
winter.  The  wide  door 
in  the  garage  above  is 
commendable 


.A  hillside  always  provides  the  possibility  for 
a garage.  Here  the  building  fits  simply  into 
the  bank,  the  roof  lying  almost  level  with 
the  garden  terrace 


108 


House  & Garden’s 


The  garage  accommodates  three  cars,  is  well  lighted  and  ventilated 
Behind  are  located  the  servants’  rooms.  The  group  is  developed  in 
white  clapboard,  with  a shingle  roof  and  green  shutters 


.4  court,  boiler  room  and  coal  bin  separate  the  garage  proper  front 
the  living  quarters.  Here  we  find  a bath,  kitchen,  living  room  and 
two  chambers 


A SERVANTS’  BUILDINC;  and  (lARACiE  on  the 
COUN'I'RY  IB.ACE  of  MRS.  NASH  ROCKWOOO, 
RIVERHAEE-ON-HLIDSON,  N.  Y. 

DWIGHT  JAMES  BAUM,  .irchiteci 


The  living  quarters  front  the  garden  with  an  arbor  extending  before 
them.  When  covered  with  vines  this  archway  will  make  a pleasant 
sitting  room  in  summer 


Book  of  Houses 


109 


Walls  surrounding 
the  kitchen  quar- 
ters are  provided 
in  the  garage. 
From  the  residence 
of  P.  S.  Kent, 
Esq.,  II ar  tsdale, 
N.  V.,  of  which 
Patterson  & Dula 
were  the  architects 


If  the  garage  is  in  proximity  to  the  house  it  should  have  the  same  general 
architectural  character.  Here  the  harmony  is  further  accented  by  a con- 
necting passage.  This  is  on  the  estate  of  C.  P.  Orvis,  Esq.,  Scarsdale,  N.  V. 
. J.  A.  Bodker,  architect 


A remarkable  ga- 
rage group  is  on 
the  estate  of 
laurence  Armour, 
Esq.,  Lake  Forest, 
III.  The  garage  is 
flanked  on  either 
side  with  chauf- 
feur’s quarters  and 
repair  shop,  all 
thatched  roofed 


The  main  necessity  in  any  garage  entrance 
is  ample  door  space.  /I5  in  this  case,  which 
is  on  the  property  of  G.  W.  Davidson,  Esq., 
at  Greenwich,  Conn.,  practically  the  entire 
facade  has  doors.  A . L.  Harmon,  architect 


no 


Book  of  Houses 


Addresses  of 

ARCHITECTS  and  DECORATORS 


Adden  & Parker. 

Albro,  Lewis  Colt 
Allen,  H.  W 
Almiroty,  Randolph  H 
Atkinson  & Alexander 
Atterbury,  Grosvenor 
Bajari,  W.  R 
Bates  & How 
Baum,  Dwight  James 
Benson,  John  P 
Berg,  Charles  I 
Bliss  Designing  Co 

Bodker,  Albert  J 

Bottomley,  \V.  Lawrence 

Buel,  Mrs.  Emott 

Chapman,  Howard.  .... 

Coles,  N.  E care  of  Eugene  W.  Crane,  1704  Eirst  Ave.,  N., 

Seattle,  Wash. 

Cross  & Cross 681  Eifth  Ave.,  New  York  Cit} 

Dalzell,  Kenneth  W Maplewood,  N.  J 

Dana,  Richard  Henry,  Jr 331  Madison  Ave.,  New  York  City 

Delano  & Aldrich 126  E.  38th  St.,  New  York  City 

Dernier,  Eloyd  A Eay  Building,  Los  Angeles,  Cal. 

Duhring,  Okie  & Ziegler 1218  Chestnut  St.,  Philadelphia,  Pa. 

Edwards,  R.  C Woolworth  Bldg.,  New  York  City 

Embury,  Aymar  II 132  Madison  Ave.,  New  York  City 

Eyre,  Wilson,  & Mcllvaine 1003  Spruce  St.,  Philadelphia,  Pa. 

Fernald,  G.  P.  . . .care  of  Little  & Brown,  70  Killjy  St.,  Boston,  Alass. 

Forster,  Frank  J 33  W.  42nd  St.,  New  York  City 

Freund,  Karl 10  E.  46th  St.,  New  York  City 

Gilbert,  C.  P.  H 1123  Broadway,  New  York  City 

Gilchrist,  Edmund  B Harrison  Bldg.,  Philadelphia,  Pa. 

Goodwin,  Bullard  & Woolsey 4 E.  39th  St.,  New  York  City 

Gore,  Wh  E Paducah,  Ky. 

Graham,  John,  Jr 130  S.  15th  St.,  Philadelphia,  Pa 

Gregory,  Julius 56  W.  45th  St.,  New  York  City 

Harmon,  A.  L 3 W.  29th  St.,  New  York  City 

Heacock  & Hokanson Bailey  Bldg.,  Philadelphia,  Pa 

Howe,  George care  of  Mellor,  Meigs  & Howe,  205  S.  Juniper 

St.,  Philadelphia,  I’a. 

Hunt,  IMyron  T . .1017  Hibernian  Bldg.,  Los  Angeles,  Cal. 

Johnson,  Reginald  D Staats  Co.  Bldg.,  Pasadena,  Cal. 

Kahn,  E.  J 56  W.  45th  St.,  New  York  City 

Knowlton,  Harry  W 24  Mcmadnock  Ave.,  Lowell,  Mass. 

Lang,  Eugene  J 477  Fifth  Ave.,  New  York  City 

Lee,  W.  Duncan 'Praveler’s  Bldg.,  Ridimond,  Va. 


2 W.  47th  St.,  New  York  City 

. . .70  Kilby  St,  Boston,  Mass. 

34  S.  16th  St,  Philadelphia,  Pa. 

597  Fifth  Ave.,  New  York  City 

36  Pearl  St.,  Hartford,  Conn. 

15  E.  40th  St.,  New  York  City 

205  S.  Juniper  St.,  Philadelphia,  Pa. 

Morris,  Benjamin  Wistar 101  Park  Ave.,  New  York  City 

Morris  & Erskine Crozer  Bldg.,  Philadelphia,  Pa. 

Morse,  Henry  G 101  Park  Ave.,  New  York  City 

Murchison,  Kenneth  M 101  Park  Ave.,  New  York  City 

Murphy  & Dana . .331  Madison  Ave.,  New  York  City 

Nelson,  Francis  A 15  W.  38th  St.,  New  York  City 

Newkirk,  Clement  R 40  Clarendon  Bldg.,  Utica,  N.  Y. 

Newton,  Sir  Ernest Grey’s  Inn  Court,  London,  England 

O’Connor,  J.  W 3 W.  29th  St.,  New  York  City 

Patterson  & Dula 15  E.  40th  St.,  New  York  City 

Peabody,  Wilson  & Brown 389  Fifth  Ave.,  New  York  City 

Peare  & Quiner 6 Beacon  St.,  Boston,  Mass. 

Perot,  Robeson  Lea 26  S.  17th  St.,  Philadelphia,  Pa. 

Phillips,  J.  H 681  Fifth  Ave.,  New  York  City 

Phillips,  W.  Stanwood 103  Park  Ave.,  New  York  City 

Pope,  John  Russell .527  Fifth  Ave.,  New  York  City 

Porter,  Lee 409  Boylston  St.,  Boston,  Mass. 

Prentice,  A.  N..  . .Hastings  House,  Norfolk  St.,  Strand,  London,  Eng. 

Redfern,  Harry care  of  Central  Control  Board,  Latymer  House, 

134  Piccadilly  W.,  London,  England 

Rose,  A.  Winter  (deceased) 

Russell,  Harry  B 9 Park  St.,  Boston,  Mass. 

Schmitt  Bros 343  Madison  Ave.,  New  York  City 

Smith,  Bowen  Bancroft 104  W.  42nd  St.,  New  York  City- 

Smith,  F.  Patterson 67  Milk  St.,  Boston,  Mass. 

Sommers,  Amy 312  W.  99th  St.,  New  York  City 

Squires,  Frederick 27  E.  22nd  St.,  New  York  City- 

Stern,  B.  E 56  W.  45th  St.,  New  York  City 

Sterner,  Frederick  J 150  E.  62nd  St.,  New  York  City 

Stevens,  Louis 238  Fourth  Ave.,  Pittsburgh,  Pa. 

Stillwell,  E.  W California  Building,  Los  Angeles,  Cal. 

4'aylor  & Levi 105  W.  40th  St.,  New  York  City 

Looker  & Marsh 101  Park  Ave.,  New  York  City 

’Fownsend,  Charles  Frederick 55  Church  St.,  New  Haven,  Ct. 

Tuttle,  Bloodgood 44  W.  34th  St.,  New  York  City 

Walker,  Stewart 128  E.  37th  St.,  New  York  City 

Walker  & Gillette 128  E.  37th  St.,  New  York  City 

Willing,  Charles 1()27  Sansom  St.,  Philadelphia,  Pa. 


12  Bosworth  St.,  Boston,  Mass. 

2 W.  47th  St.,  New  York  City 

Jackson,  Mich. 

46  W.  46th  St.,  New  York  City 

35  Bedford  Square,  London,  England 

20  W.  43rd  St.,  New  York  City 

3437  Franklin  Blvd.,  Chicago,  111. 

35  W.  39th  St.,  New  York  City 

Riverdale-on-the-Hudson,  N.  Y. 

331  Madison  Ave.,  New  York  City 

331  Madison  Ave.,  New  York  City 

Rockford,  111. 

62  W.  45th  St.,  New  York  City 
597  Fifth  Ave.,  New  York  City 
20  E.  46th  St.,  New  York  City 
315  Fifth  Ave.,  New  York  City 


Lindeberg,  Harrie  T 
Little,  Harry 
McGoodwin,  Robert  R 
Major,  Howard 
Marchant,  W.  T 
May,  Charles  C 
Mellor  & Meigs 


/ 


I 


..  . ’k.- 


mit- 


